Just in time for sunny winter Sunday sessions — and in advance of lazy spring and summer weekends spent knocking back cold ones, too — Australian Venue Co has just unveiled its latest Brisbane pub makeover. The just-revamped venue this time around: Cleveland Sands Hotel, which has relaunched with a renovated 250-person beer garden, plus an expanded sports bar that's just had a new fitout. Given the pub's harbour-adjacent location, that beer garden is clearly the huge drawcard. Here, while you sit around and sip, you'll be surrounded by white hues aplenty, splashes of timber courtesy of the tables and bars, shady umbrellas and — for when twilight hits — fairy lights strung up above. Inside, new big screens await — if you're timing your trip to the pub with watching the footy or cricket — as does a new stage that'll host live bands on Fridays. The venue will also hold weekly trivia nights and karaoke nights, and have DJs spin tunes on Saturdays. Sundays will offer a mix of live tunes and folks on the decks, and there'll be monthly comedy shows and drag bingo as well. Menu-wise, AVC has also given the food range a shakeup. Bistro dishes include lobster and prawn sliders, fish tortillas, karaage chicken, wild mushroom risotto and ox beef cheek. There's a renewed focus on Queensland produce, too, and pub staples such as pizza, burgers, steaks and schnitzels are all accounted for. Cleveland Sands joins the Salisbury Hotel, the Crown Hotel in Lutwyche and Bribie Island Hotel among the AVC venues unveiling their facelifts over the past year — with this one to the tune of $1.65 million. And, to celebrate the makeover, it's throwing three days of parties between Friday, August 5–Sunday, August 7, spanning oyster shucking stations on the Friday, free snacks on the Saturday, and live music across the three days. Find the Cleveland Sands Hotel on Bloomfield and Middle streets, Cleveland — open 10am–4am daily.
What's better than hosting a big arts festival in one location? Spreading the love across two different cities on consecutive weekends. That's the format that worked for Mona Foma, the Museum of Old and New Art's (MONA) key summer event, when it was last held in 2021 — so that's exactly what'll happen again in 2022. Come January, arts and music fans will be able to soak in the fest's eclectic sights and sounds in two places: in Hobart and in Launceston. Although Mona Foma was originally held in Hobart, where MONA is located, the event made the move to Launceston in 2019. So there's plenty of reasons behind splitting its program between both Tasmanian cities. Launceston will be up first, from Friday, January 21–Sunday, January 23, with Hobart getting the nod the next week from Friday, January 28–Sunday, January 30. Just what'll be on the bill hasn't been announced as yet, and won't be until Friday, December 3 — but you can start marking your calendars now anyway. Tasmania is also reopening its borders to double-jabbed visitors from Wednesday, December 15, which is great news if you now know what you'd like to do — and which huge arts fest you'd like to hit up — this summer. The border reopening applies to double-vaxxed travellers from both interstate and overseas, too, which could have some influence on Mona Foma's lineup. [caption id="attachment_784489" align="alignnone" width="1920"] The Flaming Lips, Mona, Hobart, Mona Foma 2016. Photo Credit: MONA/Rémi Chauvin. Image Courtesy Mona, Museum of Old and New Art, Hobart, Tasmania, Australia.[/caption] "Delivering a festival in two cities in January 2021 felt like nothing less than a miracle," said Mona Foma curator Brian Ritchie. "Come January 2022 we'll do it again and promise another festive burst of euphoria and unforgettable moments." In terms of what's in store, Ritchie advised that the MONA team "is working on strange new venues, indefatigable creativity, cultivation of powerful talent and the unpredictable." Mona Foma will take place from January 21–23, 2022 in Launceston, and from January 28–39, 2022 in Hobart. We'll update you when the full program is announced on Friday, December 3 — but head to the festival website in the interim for further details. Top image: Faux Mo, Mona Foma 2021. Mona/Remi Chauvin. Image courtesy of the artist and Mona, Museum of Old and New Art, Hobart, Tasmania, Australia.
Whenever Four Pillars releases a new gin, it's always cause for celebration — whether it's Bloody Shiraz time, the festive season or the company is dropping a fresh tipple just because. When the brand takes over a whole bar for a night, that's clearly reason enough for a party. And that's just what's happening on Friday, August 23. Enjoy your after-work, end-of-week tipple at The Boom Boom Room, and you'll be treated to a one-off range of inventive gin cocktails. The beverages come courtesy of Four Pillars' James Irvine — the outfit's creative director of gin drinks, because, yes, that's a real job title. Teaming up with the venue's own Joseph Chisholm, he'll be whipping up concoctions you won't get to taste on any other date. Head along, spend an evening sipping drinks underground and say cheers to all of the above. Entry is free, but places are limited, so reserving a table for this boozy night is recommended — you can do so by contacting the venue.
Drawing inspiration from contemporary melancholic-surrealists David Lynch and Edward Hopper, American photographer Gregory Crewdson explores elements of human alienation and transcendence in his new exhibition, In a Lonely Place. The show, which features works from three different photography series, include large-scale photographs that blend high-detail, cinematic techniques with emotionally charged atmospherics to create a truly engrossing body of work. In a Lonely Place is a joint project between Brisbane’s Institute of Modern Art and Melbourne’s Centre for Contemporary Photography. In a Lonely Place will be launched at IMA on a special opening night on Saturday, March 16, which also heralds the start of Luke Fowler's exhibition, All Divided Selves. Both exhibits will be running until mid-May.
You know when you're travelling and you receive a red-hot tip from a local? They point you in the direction of the best fried chicken joint, a secret underground bar or an offbeat gallery — something that transforms your trip and lets you see the real city as you would've never seen it. It can really make a trip. So to help you uncover some local gems on your next Sydney visit, we've partnered with the City of Sydney to create a local's guide to the city. We've honed in on ten inner-city suburbs and pulled out experiences to take you past the Opera House and Harbour Bridget and deeper into the local's locales. [caption id="attachment_696573" align="alignnone" width="1920"] Continental CBD by Kitti Smallbone.[/caption] SMALL BARS IN THE CBD There was a time when after the hustle and bustle of Sydney CBD's nine-to-five crowd subsided, the streets turned tumbleweed quiet. But thankfully, that time has passed. Over the last ten years or so, the CBD has acquired several top-notch venues. While you may have visited some of the small bar stalwarts — The Baxter Inn, The Barber Shop, SILY, Bulletin Place (just to name a few) — there are several newcomers to discover, too. Be sure to stop by Old Mate's Place rooftop bar with a warm and welcoming library-esque aesthetic, head to Continental Deli, Bar and Bistro CBD to enjoy a mar-tinny (a martini in a can) with a plate of charcuterie and cheese at the luxe marble-top bar or seek out 1950s-inspired Maybe Sammy where cocktails come in tubes or matched with passionfruit-scented hand cream. [caption id="attachment_660514" align="alignnone" width="1920"] Paramount House Hotel by Tom Ross.[/caption] A HUB OF COOL IN SURRY HILLS The effortlessly cool Surry Hills is bursting at the super-stylish seams with must-visit bars and eateries — a few of which conveniently reside together in Paramount House. The heritage-listed building on Commonwealth Street is home to Golden Age Cinema and Bar, new natural-wine-plenty restaurant Poly, a lush boutique hotel, rooftop fitness centre complete with on-call massage therapists and a cafe which serves arguably the best coffee in Sydney. Start your day with a cup of joe at Paramount Coffee Project in the lobby of the building, then make your way up to the Paramount Recreation Centre. Even if you aren't a guest at the Paramount House Hotel, you can still grab a day pass to the gym and attend one of the classes on offer. Come evening, park yourself at Poly for pre-cinema seasonal share plates and excellent wine before making your way to a showing at the in-house cinema's petit theatre — the former Paramount Pictures screening room. [caption id="attachment_705398" align="alignnone" width="1920"] The Social Outfit by Luisa Brimble.[/caption] SUSTAINABLE SHOPPING IN NEWTOWN Newtown is known for its abundance of street art, eccentric residents and overall buzzing vibe. To really do the suburb like a local, we suggest spending a day sustainably shopping along main drag King Street — before checking out one of the best bars in the area. From the top of King down, you'll come across the likes of U-Turn, Cream on King and SWOP Clothing Exchange where you'll find well-curated, secondhand fashions to dig into, plus Good Times Vintage, Vintage 585, Faster Pussycat and Retrospec'd, which house fashion, homewares, decor and plenty more from decades past. If that isn't quite enough, you can exercise your gem-finding prowess at the Red Cross and Vinnies shops, too. And if you're really after something new, check out The Social Outfit. While you won't find any vintage, the store is an ethical enterprise that supports people from refugee and migrant communities by providing training and employment in the fashion industry. You can pick up a unique piece that tells an amazing human story all while financially empowering people. It's a win-win. [caption id="attachment_652447" align="alignnone" width="1920"] Ellery by Kitti Gould.[/caption] AUSTRALIAN FASHION AND DESIGN IN PADDINGTON If vintage and op shopping is not your forte (we get it, not everyone has the eye and/or patience), head for a shop in Paddington. This Australian fashion hub has a host of homeware shops and fashion boutiques to browse. If you're keen to get up close and personal with our best and brightest designers, The Intersection should be your starting point. Flagship after Australian designer flagship line the street here and pull you deeper into the suburbs via the likes of Alice McCall, Camila and Marc, Dion Lee, Ellery, Manning Cartell, Scanlan Theodore and Zimmermann (to name but a few). As for homewares and decor, independent design shop Opus will sort you out with vintage board games, quirky gadgets and retro video consoles; Dinosaur Designs will help you find some statement resin jewellery and free-form wares for your home; and Jardan will indulge any design addict with a shop full of gorgeous furnishings — you'll wish the space itself was your actual home. [caption id="attachment_664457" align="alignnone" width="1920"] White Rabbit.[/caption] ART GALLERIES IN CHIPPENDALE The suburb with more independent galleries than you can poke a paintbrush at, Chippendale is a must-visit for any art lover. Start by checking out Galerie Pompom on Abercrombie Street — a space dedicated to developing and nurturing mid-career artists from Melbourne and Sydney — and White Rabbit, a four-storey gallery showcasing a beautifully curated, impressive private collection of contemporary Chinese art. Other art spaces championing Australian (and some international) artists in the area include Wellington St Projects, Nanda/Hobbs, Harrington Street Gallery and Verge Gallery. And for an even deeper dive into the arty precinct, you can join the Chippendale and Redfern walking tour by Culture Scouts, who'll take you beyond the galleries to discover the local public artworks, architecture and street art. [caption id="attachment_705409" align="alignnone" width="1920"] Frenchies Bistro and Brewery.[/caption] A HUB OF FOOD, DRINK AND SHOPPING IN ROSEBERY If you've visited Sydney before, you've almost certainly been to The Grounds. A cafe, bakery, florist, restaurant, farm and mini market all in one, the place is a mecca for highly likeable Instagram posts. It's also a brunch mecca, with locals and visitors alike making the pilgrimage to Alexandria each weekend. If you're after something a bit more subdued, set your sites on The Cannery in the neighbouring Rosebery. Similar to The Grounds in how its helped transform this former industrial area into a food lover's haven, The Cannery is home to an even larger variety of food, drink and shopping options. It's here where you'll find Archie Rose, Sydney's first distillery to open in over 160 years Archie Rose; Frenchies Bistro and Brewery (with an on-site brewing facility); and boutique bottleshop Drink Hive, which slings natural wines, independent brews and local spirits. There are also several eateries in the precinct including the Aussie-Japanese-serving Stanton and Co, purveyors of watermelon cakes (and other sweets) Black Star Pastry and Argentinian grill masters Three Blue Ducks, to name but a few. Visit on an empty stomach, guys. [caption id="attachment_635940" align="alignnone" width="1920"] The Bearded Tit by Katje Ford.[/caption] LOCAL CREATIVES IN REDFERN When a place is called the Bearded Tit, you know it's going to be good. This brazen art bar on Regent Street is just one of many left-of-centre venues in Redfern and, beyond the crocheted penises and taxidermy boar, it highlights what the suburb does best: intersect art and culture with a good drink. 107 Projects is another creative space where you can experience regular art shows, gigs and performances by local artists, musicians, comedians and theatre groups, all while enjoying a tipple or two. You can even channel your own creative energy with some locals at one of the weekly Wednesday Night Creative Hangouts or Life Drawing Socials. While in the area, make sure to pop into Indigenous-owned cafe The Tin Humpy. Run by Bundjalung woman Yvette Lever and her family, the cafe slings homemade pastries alongside coffee from The Grounds and presents a stunning Indigenous art collection to boot. [caption id="attachment_653243" align="alignnone" width="1920"] Dae Jang Kum by Kitti Gould.[/caption] A CULINARY JOURNEY THROUGH ASIA VIA HAYMARKET Running adjacent to the CBD, Haymarket is a melting pot of different Asian cultures and cuisines. Whichever eats you're craving, you'll find them here (along with muchos bubble tea to wash it all down with). Keen for Chinese? Hit up yum cha favourite Marigold for a morning feast of dim sim, pork buns, rice noodles and creamy mango pancakes, or stop by the noodle and dumpling haven at the Prince Centre for some of Sydney's favourite cheap eats — there are at least four dumpling eateries to choose from but many Sydneysiders are quite partial to the spot lovingly known as 'grapes on the roof'. In the mood for Korean? Make tracks to Koreatown for barbecued sizzling meats at 678 Korean BBQ, steamy spicy hotpots at Dae Jang Kum or some finger-lickin' Seoul-style fried chicken at Arisun (a favourite spot for many Sydney chefs). Have a hankering for Japanese? Pop by Menya Noodle Bar and take your pick from 17 different types of ramen (the black garlic ramen is a go). We could continue with Thai, Vietnamese, Malaysian… but it's best you just check it out yourself. [caption id="attachment_524715" align="alignnone" width="1280"] The Old Fitzroy Hotel.[/caption] DINNER AND A SHOW IN KINGS CROSS The Cross has undergone a pretty drastic transformation. The days of teapots at World Bar and rowdy all-nighters may be gone, however, excellent restaurants and independent theatres have helped keep the neighbourhood alive. Step into the 1930s at Dulcie's basement bar and enjoy a punchy espresso martini with a side of nostalgia. The bar is a homage to the Cross's past with an art deco aesthetic and stage that hosts theatre, dance and cabaret shows after midnight. There are also several small theatres in the area conveniently located within a few blocks of each other (and some of Sydney's top restaurants), including the Griffin, Hayes Theatre Co and The Old Fitz. At the Griffin, you'll find brand new works and Australian stories; cabaret and musical theatre are the go at Hayes Theatre Co (the Monty Python's Spamalot will run from Wednesday, March 6 to Saturday, April 6 this year); and The Old Fitz, run by Red Line Productions and located inside a pub, offers quality independent productions for as little as $20 a ticket. LOCAL SOUVENIRS IN GLEBE For boho vibes, a throng of neighbourhood eateries and some of Sydney's most chill humans, head to Glebe. Before heading for this incredible burnt butter hummus at Middle Eastern eatery Thievery, pay a visit to The Works. At this three-storey space on Glebe Point Road, local creatives design, make and exhibit their work. It functions as a cafe and coworking spot, as well as a pop-up shop where local designers can showcase their wares. This is the spot to hit for some truly local souvenirs with everything from jewellery, shoes and environmentally conscious activewear to prints, greeting cards and screen-printed totes to vegan soaps and hand-poured soy candles. With an ever-changing roster of local artisans, each visit will bring something new to the table (and probably your home). Forgo the tourist traps and instead traverse the great City of Sydney like a local. Discover more around the city here. Top image: Continental CBD by Kitti Gould.
Escaping from the hustle and bustle, soaking in greenery-filled views and spending time next to a national park don't usually go hand in hand with sipping cocktails, but The Paddock restaurant and bar boasts all of the above. Being situated on a 75-acre wagyu and polo farm that doubles as a luxe retreat will do that, with this Scenic Rim newcomer forming part of Hazelwood Estate in Beechmont. That means that you can stay in a cabin, but still spend your meals eating and drinking in style. Or, you can head down just for lunch, dinner and drinks from Wednesday–Sunday. Opt for the latter, and you'll still need to enter a passcode to enter the estate. The Paddock restaurant boasts Cameron Matthews (ex-Spicers Group) as chef-in-residence, and has adopted a big focus on local products — including from the venue's own market garden and beehives. The food menu spans dishes such as beef tartare, camel milk gnocchi with brown butter and coal-grilled beef with salt baked potato, or you can treat yo'self to a two-course or three-course spread. The Paddock also features the estate's cocktail bar, which spills out onto a terrace with views out over the valley — and serves up drinks that hero seasonal ingredients. Or, you can choose from sommelier Luis Buchan's wine list, with Australian and European drops getting pride of place. Aussie beers are also on offer, including an exclusive New England-style lager from Victorian craft brewery Edge Brewing Project that's only available onsite.
Love is in the air at Victoria Park / Barrambin this February. Movies are screening in the open air, too. On Saturday, February 11, in the lead up to the supposedly most romantic day of the year, the Herston patch of turf is bringing back its outdoor cinema for a Movie Date Night session. Even better: entry is free, with the event starting at 5.30pm. That's when onsite food trucks will be serving, so you will need your wallet for that — or you and your other half can pack your own snacks and drinks, and enjoy a picnic. Movie-wise, Pixar's Up will play from 6.45pm in all of its adorable and heartfelt glory, while The Proposal then hits the screen with its rom-com antics from 8.30pm. And, if your dog likes flicks under the stars, too, you can bring them along — but they need to remain on a leash.
Not that long ago, the narrow spaces around Fortitude Valley were just that — spaces, not vibrant laneways. These days, the area boasts not one, not two, but now four jam-packed alleys. Yes, that's a development that's worth celebrating. In fact, it's a change worthy of a day-long festival, which is exactly what the returning Hidden Lanes Festival is all about. On Saturday, August 14 from 9am till late, Bakery Lane, Winn Lane, California Lane and Lucky Lane will turn into a flourishing — and free — party, complete with markets, beverages, art, food, fashion and more than 45 live musical acts. Here, you'll eat, drink, listen, shop, chat, learn something, marvel at art and restock your wardrobe, all across one huge day and a quartet of busy spaces. Naturally, the event will definitely involve the long list of businesses who call the four laneways home — and, tunes-wise, the lineup is headlined VOIID, The Chats, Connor Brooker and Buttercats, who'll hit up across multiple stages with plenty of company. Also, due to Brisbane's current COVID-19 restrictions, there'll be some rules in place. Dancing is off the cards, you'll need to sit down to eat and drink, and masks are mandatory. [caption id="attachment_742156" align="aligncenter" width="1920"] Alvaro Mayorga[/caption] THE HIDDEN LANES FESTIVAL 2021 LINEUP: VOIID Connor Brooker Buttercats The Riot Perve Endings Melaleuca Pocketlove Miranda Vs. Arizona Beks Tomtom Freight Train Foxes Nicole Mckinney Sachem Fraser Bell Lucy Francesca Dron Eleea Rich Uncle Oh Bailey Hope One Sofia Isella Bunny Racket Cloud Tangle Hannah Sands Straight Girls Buttered Brooke Austen Lilly Sage Bella Amor Khara Van Park Evie Luate Sidewalk Assembly Juniper Stone Paulina Welcome To Country — Songwoman Maroochy DJ sets: The Chats Ra Ethan Greaves Romiindahouse Scalymoth Flex Cop Jamie Forson Daddy Olive Chelea Sharne Tantrum Luke Brazier Cheek2cheek Black Amex B2B Sweaty Baby Dos Fangs B2B Hibboh Oh Shit Shanai Top image: Markus Ravik. Updated August 10.
Gone are the days when a Sizzler seemingly sat in every second suburb, tempting Brisbanites with its all-you-can-eat buffet — and, let's admit it, with the real drawcard that is the chain's delicious cheese toast. Over the past few years, the company has downsized in a big way. But, at the few local stores that still exist, that favourite dish is still on the menu. On Saturday, January 18, it's the star of the show, in fact. Sizzler knows how much everyone loves its pecorino-slathered grilled bread, so it's celebrating National Cheese Toast Day. Head on in between 11am–2pm and you'll score yourself some free cheese toast — without needing to buy a meal, a trip to the salad bar or anything else. You'll also get the chance to try Sizzler's new cheese toast flavour. There's no real need to mess with perfection, but hey, more cheese toast is never a bad idea. And, cheese toast merchandise will be on offer — because that's something that exists. If you're wondering where you can find a Sizzler these days, you'll need to head down to Loganholme or up to Caboolture. For those further afield on Saturday, stores also still exist at Mermaid Beach, Maroochydore and Toowoomba. Images: Sizzler.
If you like your jazz drum-free and heavy on the guitar and violin — aka in the style called hot gypsy — then prepare to spend four days in music heaven. The annual OzManouche Festival of Hot Gypsy Jazz is back for another run, and it's taking over the Brisbane Jazz Club. Actually, OzManouche isn't rolling out just another yearly event — it's celebrating its tenth birthday. With concerts, workshops, masterclasses, film screenings and food on the bill, including Hank Marvin Gypsy Jazz, The Cope Street Parade and Salon de Swing serving up their best jazzy tunes, it seems that they have the perfect program for the occasion. OzManouche belongs to a bustling tradition of similar festivals around the world, including the famed Samois Festival du Django Reinhardt in France. That's why performers flock from all over Australia to take part, and why Brisbanites should rush to enjoy the experience in their own backyard.
Chances are, no matter how many drinks you downed on ANZAC Day, you didn't wake up with a penguin in your bed. That is, unless you're one of these three guys. In a wild night dubbed 'The Hangover come to life', three allegedly intoxicated tourists broke into the Gold Coast's Sea World Australia this past weekend. Once inside, they took the opportunity to go for a dip with the dolphins, take a video or two, and - oh yeah - kidnap a penguin. The unsuspecting penguin, named Dirk, had an even rougher go of it. Released by one of the three (panicked) men early Sunday morning, Dirk took to a nearby shark-infested waterway. Once chased out of his watery haven by a menacing shark, he out-waddled a curious dog before being rescued by passersby. Dirk has since by safely returned to Sea World, and to his lady penguin, Peaches. The three jokesters may not get off so lucky. They have released the phone-captured video of their drunken prank in hopes of demonstrating their 'non-malicious' intentions; even so, they are currently facing charges. https://youtube.com/watch?v=6ze6HKOiCNQ
Australia's biggest cities certainly hold their own when it comes to the world's best food capitals. But if there's one type of cuisine that lacks the same plethora of options compared to, say, Italian, Vietnamese or Greek, people tend to agree it's Mexican. While access to essential ingredients has steadily improved over the years — think nixtamalised corn tortillas, specialty chillies and Oaxaca cheese — satisfying your culinary cravings isn't always easy. However, lovers of Mexican cuisine can soon experience one of the best from the country itself, as CDMX-based taqueria El Vilsito is bringing its incredible food halfway across the world to our shores. Descending on Howard Smith Wharves in Brisbane and Manly Wharf in Sydney for two-weekend-long residencies this March, the tour is all part of an authentic takeover of La Mexicana — a Mexican food festival running alongside the tequila-soaked Margarita Week. For the occasion, two chefs from El Vilsito are making the long trip to Australia, working alongside a local culinary team to ensure the taqueria's crowd-pleasing tacos hit in precisely the same way as when served from their Mexico City mechanic's workshop. For the uninitiated, the eatery is especially admired for its tacos al pastor, where marinated pork cooked on a vertical spit is thinly sliced and served in corn tortillas. "El Vilsito was one of those places that stays with you," says Howard Smith Wharves Brand Director Katie Moubarak, who experienced the taqueria during a research trip to Mexico. "From the moment I stepped inside, the energy, the generosity and the food felt completely alive. Being able to bring their chefs and their way of cooking to Australia felt like a natural next step after experiencing it firsthand." Given the widespread international recognition El Vilsito has received over the years, its arrival in Australia is significant. Not only has the taqueria been recommended by the Michelin Guide, but it's also featured in The New York Times' 36 Hours in Mexico City Guide and in Netflix's Taco Chronicles. To make the experience even more special, Sandra Blanco, daughter of El Vilsito owner Juan Carlos Blanco, is also travelling to Australia. "We've welcomed so many Australians to El Vilsito over the years, and their love for our tacos has always stayed with us," says Sandra Blanco. "Our family has been making food here for nearly forty years, so being able to bring our chefs and recipes to Australia and cook them in the same way we do at home feels incredibly special." The El Vilsito pop-up is happening at La Mexicana from Thursday, March 5–Sunday, March 8 and Thursday, March 12–Sunday, March 15 at Howard Smith Wharves in Brisbane. Then, in Sydney at Manly Wharf from Thursday, March 19–Sunday, March 22 and Thursday, March 26–Sunday, March 29. Images: Andrea Tejeda K.
It's been four years since Queensland's Containers for Change refund scheme launched, doing the planet a solid by encouraging the state's residents to recycle their drink containers, and also giving everyone who participates some cash back for their efforts. It instantly proved popular, receiving more than 102 million empty drink containers in its first two months, rocketing up to over 400 million containers in its first five months and now sitting at more than 5.5 billion recycled containers. We're guessing that adding glass wine and spirits bottles to the program will help ramp up those numbers as well. The Queensland Government has announced that it's looking to expand Containers for Change, and glass booze containers are in its sights. So, your gin shrine might be able to help the planet, and each bottle might soon score you a ten-cent refund. "Making more containers eligible for refunds makes it easier for people to recycle, particularly in more regional and remote communities where they mightn't have a recycling bin," said Queensland Environment Minister Meaghan Scanlon in a statement. "From the perspective of Queensland's fast-growing recycling industry, it also means beverage containers can be sorted and manufactured into new products quicker." The CRS, as the scheme is also known, currently accepts water bottles, beer cans, juice containers and more — saving a hefty amount of aluminium, glass, plastic, steel and liquid paperboard items from landfill and our waterways, with a focus on beverage containers between 150 millilitres and three litres in volume — but glass vino and spirits bottles aren't currently covered. Before making the change, however, the Queensland Government is seeking input. "Of course, we want to make sure that any decision to expand the scheme to include wine and spirit bottles is one that is backed by the community, so we'll be going out next month to Queenslanders to get their feedback," said Scanlon. The consultation period is expected to launch in December 2022 and finish in February 2023, seeking Queenslanders' views on nabbing ten-cent refunds for their at-home wine and cocktail drinking. Until the change is brought in, however, Queenslanders will need to keep popping them in their yellow bins at home — and not getting any money in return. For more information about Containers for Change, visit the scheme's website — or check out our how-to guide. We'll update you if and when glass wine and spirits bottles are added to the Queensland scheme, and you can keep an eye on the Queensland Government website in the interim.
Adrenaline junkies, meet your new action sports go-to: a massive three-level skateboarding, BMX, snowboarding, skiing, rock climbing and bouldering facility that'll also mark an Australian-first. Come late 2024, American chain Woodward is making its Aussie debut, and also opening its first-ever international site, with a 3650-square-metre venue in Castle Hill in Sydney. If it gets your blood pumping, odds are that there'll be a space for it at Woodward Sydney, which'll set up shop adjacent as part of Castle Towers Shopping Centre. Think: climbing and bouldering walls, a skate park, mini ramps and a mega ramp, foam pits, a pump track, a spring floor, trampolines and a gym. And, whether you're a professional, an Olympian, aspiring to make action sports more than just a pastime or a complete beginner, the purpose-built centre promises to cater to all ages and abilities. That includes hosting individual classes, programs that span for multiple weeks, competitions, birthday parties and events — and having casual-access passes for folks who just want to give it a go. Plus, for winding down after getting sweaty, there'll be an onsite cafe and bar. "Sydney is the ideal city for our first expansion overseas given its history as a destination that embraces sports and commitment to the action sports lifestyle," said Woodward President Chris 'Gunny' Gunnarson, announcing the Castle Hill venue. "Woodward Sydney will be our most innovative concept to date — and a model for future Urban Centres. Woodward has historically been known as the place to go if you are an aspirational professional athlete, and we want all Woodward locations to be focused on empowering athletes of all abilities and ages to safely progress on a clear path at their own pace using our unique blend of innovative environments, dynamic programming, and passionate staff. Woodward Sydney will epitomise that mission." Also set to be a big focus: encouraging women to get more involved and feel more empowered in action sports, one of the brand's key missions. Woodward started out in 1970 in central Pennsylvania, and now boasts eight venues across the US, including in California, Colorado, Utah, Oregon and Vermont. The New South Wales Government is putting $1.8 million towards the company's first Australian action sports centre, via a grant from the Greater Sydney Sports Facility Fund, with an aim to both increase opportunities for Sydneysiders to get active and support athletes. "Investing in new and existing facilities to improve the quality and quantity of sports infrastructure across Greater Sydney was a priority for the NSW Government," said Minister for Sport Alister Henskens. "The NSW Government recognises the critical role sports infrastructure plays in keeping communities healthy and active. Woodward Sydney will provide an indoor action sports facility which will improve participation and pathway opportunities for emerging and elite athletes." Woodward Sydney will open at Castle Towers Shopping Centre, 22 Showground Road, Castle Hill, in late 2024. Keep an eye on the Woodward website for further details.
May has the Eta Aquarid meteor shower, June boasts the Delta Aquariids and December welcomes the Geminids. In November, however, it's Leonids time. Arriving at the end of spring in Australia and New Zealand, the Leonids may not be quite as well known as some of its counterparts, but it's still a shower worth looking up for. And it's famous for one impressive reason: its spectacular meteor storms. It can feature more than 1000 meteors per hour, but that only occurs around every 33 years — and, sadly, the most recent occurred in 2001. Still, while you won't spy that kind of intense onslaught in 2021, you will still see meteors. The Bureau of Meteorology predicts there'll be around five per hour hurtling across the heavens on average. At its peak, timeanddate.com predicts ten per hour. In good news for those Down Under, the Leonids can be seen in the Southern Hemisphere. Although it runs from Saturday, November 6 until Tuesday, November 30, this year it'll be best detected between Wednesday, November 17 and Thursday, November 18. Like many astronomical shows, catching an eyeful after midnight is recommended (aka when the moon has set and its light will not interfere). Specifically, for the best view, mark the early hours of Thursday, November 18 in your calendar. Named for the constellation of Leo, which is where it appears to radiate from in the sky, the Leonids aren't just renowned for its huge showers approximately three times each century, but also for its place in history. During the storm of 1833, it has been estimated that more than 100,000 meteors streamed across the sky per hour — and, as a result, the Leonids helped play a part in the formulation of the first theory about the origin of meteors, NASA notes. The Leonids stem from the Comet Tempel–Tuttle, which was actually first officially recognised after the famous meteor shower of 1833 — in 1866, in fact. And, if you're wondering why the Leonids' storms only hit every 33 years or so, that's because that's how long it takes for the comet to orbit around the sun. [caption id="attachment_751114" align="aligncenter" width="1920"] The peak of the 2009 Leonids meteor shower. Image: Navicore via Wikicommons.[/caption] For your best chances of getting a glimpse, the usual advice applies. Get as far away from bright lights as possible — this could be a good excuse to head out of the city to a clear-skied camping spot — and pray for no clouds. And, given that the Leonids originate from the Leo constellation, that's what you'll be looking for in the sky. To locate Leo, we recommend downloading the Sky Map app — it's the easiest way to navigate the night sky (and is a lot of fun to use even on a non-meteor shower night). The Leonids meteor shower runs between Saturday, November 6 until Tuesday, November 30. Top image: Mike Lewinski via Flickr.
By this point, everyone knows buying cage eggs is a first-world form of pure evil. Hens are crammed into tiny metal boxes and left to descend into madness. The eggs they produce are understandably sub-par, and their quality of life is next to nil. You don't need to have seen a Jamie Oliver doco or Four Corners special to get the gist of it. But these days, even avid free-range buyers can get duped. Happy chickens are printed on every egg carton in your local supermarket, and dodgy phrasing like 'cage-free' and 'barn-laid' can trick you into buying something that falls way out of whack with your morals. Now something's finally being done about it. This week, state and territory governments have been tasked with creating a set of national guidelines to determine what exactly counts as 'free-range' and what these producers can legally lay a claim to on their cartons. Surprisingly, this will be the first national legal definition of the term 'free-range'. At present, the ACT and Queensland are the only states where restrictions apply to the term, and they differ wildly. In the ACT, farmers can have a maximum of 1,500 birds per hectare to qualify for the term, but in Queensland this number instead sits at 10,000. The latter is also the standard employed by Coles free-range brand. Though there is a voluntary industry code that allows up to 20,000 hens per hectare under the term, an investigation carried out by New South Wales Fair Trading concluded that consumers really have no idea what they're getting. It's estimated that around 40 percent of people now buy free-range, but they have an extremely limited understanding of what the term really means. The investigation was in fact instigated by a super complaint from consumer rights organisation Choice last year. "At the moment, consumers have no confidence they’re not being ripped off and that’s a ridiculous situation," campaign manager Matt Levey told SMH. "People want to make ethical decisions but can’t." Though any decided national standard will not take effect 'til 2015, it's understandably a step in the right direction. We should start openly talking about what's on our plate and put up a solid framework for the ethical treatment of animals. Next up: getting those happy rainbow hens off the cartons of cage eggs. If that's not false advertising, we don't know what is. PS. We'd like to sincerely thank you for clicking on this article despite the title's awful pun. Via ABC and The Sydney Morning Herald. Photo credits: madelinetosh and p1ndar0 via photopin cc.
Stakes at the ready: more than three decades after Buffy the Vampire Slayer first hit the big screen, and nearing the same span since the undead-vanquishing character first made the leap to television, another TV series looks set to continue the story. Into every generation a new slayer is born, after all. And if this new small-screen effort comes to fruition, it will indeed focus on a new character — but Sarah Michelle Gellar (Dexter: Original Sin) is also set to co-star. As per both Variety and The Hollywood Reporter, a sequel series to Buffy the Vampire Slayer is expected to receive a pilot order from US streamer Hulu, with Gellar in talks to reprise her performance as the Sunnydale resident who spent her nights dispensing with bloodsuckers. Narrative-wise, details from there are scarce, but a fresh face will take the spotlight, with Gellar featured in a recurring role. Behind the scenes, another big name is attached to the new Buffy: Oscar-winning Nomadland director Chloé Zhao, who is set to helm the pilot if it gets the greenlight, and also executive produce. If you're choosing not to get too excited until everything is official, however, that's understandable. Into every few years, reports of a Buffy the Vampire Slayer comeback are born, too. Back in 2018, a Buffy spinoff was in the works, for instance. Alas, like vamps and making daytime plans, nothing happened. Thanks to Audible, though, Slayers: A Buffyverse Story did continue the tale with a heap of the show's original cast, focusing on bleached-blonde vampire Spike (James Marsters, Isla Monstro). Until confirmation that Buffy really is rising again like the creatures its namesake has spent so long battling, it's time to start hoping that other cast members will return to the TV sequel. Among the show's lineup of talent during its 1997–2003 run, and spinoff Angel's span from 1999–2004: everyone from Alyson Hannigan (Office Race), David Boreanaz (SEAL Team), Michelle Trachtenberg (Gossip Girl) and Alexis Denisof (How I Met Your Father) to Charisma Carpenter (Going Home), Anthony Head (Ted Lasso), Juliet Landau (Claws), Emma Caulfield Ford (Agatha All Along) and Amber Benson (I Saw the TV Glow). If it goes ahead, the new Buffy will boast Nora Zuckerman and Lila Zuckerman (Poker Face) as writers, showrunners and executive producers, while Gellar would executive produce as well. There's obviously no trailer for the latest take on Buffy yet, but you can get a blast from the past with trailers from the OG TV series below: The new Buffy the Vampire Slayer doesn't yet have a release date — we'll update you with more details when they're announced. Via Variety / The Hollywood Reporter.
New years and treating yo'self go hand in hand, including on Lunar New Year. For an indulgent way to welcome the Year of the Rat, CBD fine diner Donna Chang is putting on a feast — and you have two weeks to head along. From Saturday, January 25–Saturday, February 8, head chef Jason Margaritis is whipping up a Chinese New Year Banquet for both lunch and dinner. Just what you'll be eating hasn't been revealed, but Donna Chang is known for its Sichuan and Cantonese-style cuisine. It's also rather fond of cooking its dishes in wood-fired ovens and over open flame grills, and serving up dim sum and fresh seafood from its display tanks. This isn't a cheap meal, setting hungry folks back $128 per person — and an extra $50 if you'd like your food paired with matched wines. There'll also be lion dances livening up the inner-city restaurant at 6.45pm and 8.45pm on Saturday, January 25, Friday, January 31 and Saturday, February 1.
Can you really say you've seen the American South if you haven't explored the region's rich musical history and culture? After all, the South is the birthplace of some of the world's most influential, enduring and popular genres of music. Rock 'n' roll, bluegrass, blues, country, gospel, jazz, soul, zydeco — the list goes on — are all genres with deep roots in the South and wouldn't sound how they do today without the region's musical influence. Whether you want to trace the history of music in the Western world, experience the South's rich musical culture and traditions firsthand or simply see an unforgettable show that only the South can put on, then you won't want to skip any of these music destinations when you visit the South. In partnership with Travel South USA, we've taken on the trip planning and handpicked the most unmissable music destinations and experiences in each of the South's nine states so that all you need to do is focus on having the trip of a lifetime. Carnegie Hall — Lewisburg, West Virginia There's no question where you'll find the beating heart of West Virginia's creative culture. It's in Lewisburg, one of the state's prestigious certified arts towns, at Carnegie Hall. The West Virginian landmark hosts musicians, exhibitions and special events year-round. The venue is also home to the West Virginia Music Hall of Fame exhibition, which showcases the impact of the state's musicians, including Bill Withers and Little Jimmy Dickens to name just a few, over the years on the American music landscape. Grand Ole Opry: Nashville, Tennessee Nashville is not only the home of country music — it's also where you'll find modern music's past, present and future. The extent of Nashville's musical impact and influence can make it hard to decide how best to explore the city's music culture. After all, the city's countless studios, cafes, bars, halls, stages and venues always have something on and there are more musicians, shows and history than could possibly be covered in a lifetime. That's why Grand Ole Opry is the best place to start. The legendary show, which started as a radio broadcast in 1925, is country music's biggest stage. To celebrate a century of country music, head to Opry House for Opry 100. Running over the course of the year in 2025, the celebration showcases an unprecedented lineup of country music's rising stars, superstars and legends through a series of spectacular live shows. Carolina Country Music Fest: Myrtle Beach, South Carolina South Carolina's Myrtle Beach is a haven for music lovers. With venues ranging from beachfront bars to intimate lounges, the coastal city boasts a thriving live music scene that's sure to strike a chord with every visitor. One of the best times to experience Myrtle Beach is when Carolina Country Music Fest is on. The annual summer festival takes place outdoors at the boardwalk along the beach and always features a stacked line up with over 40 of country music's hottest artists. MerleFest: Wilkesboro, North Carolina When you can't decide which artists to see live, music festivals are the obvious solution. Instead of tossing up between experiencing just one of the region's many musical genres, head to North Carolina — a state that straddles both the South and Appalachia — for MerleFest, one of the country's major festivals. Held annually in Wilkesboro, the music festival celebrates "traditional plus" music, covering traditional music of the Appalachian region including bluegrass and old-time music, as well as Americana, country, blues, rock and more. Kansas City Jazz: Kansas City, Missouri America's Prohibition era saw music clubs across the country shutter — but not in Kansas City. The city's clubs were run by the mob, not only continuing to serve alcohol, but also giving musicians a platform where they could keep performing. Soon, musicians were flocking to the city known as 'Paris of the Plains', where different musical styles merged and evolved. The legacy of this long musical history in the city lives on today with countless jazz clubs, including the Mutual Musicians Foundation which hosts midnight jam sessions on Friday and Saturday nights and has done so since 1930, and the American Jazz Museum which allows visitors to dive into the history of the state's soulful music. GRAMMY Museum® Mississippi: Cleveland, Mississippi The GRAMMY Museum® Mississippi isn't just any music museum. It's the most technologically advanced music-themed museum in the South and was the second of only three GRAMMY Museums in the world, chosen in a testament to the state's musical chops, Mississippi has more GRAMMY winners per capita than any other state in America. The influence of the Mississippi Delta on the development of American music can hardly be overstated. So much so, the state claims the title of "the birthplace of America's music". If Elvis Presley, B.B. King and Eddie Willis of The Funk Brothers — to name just three — ring any bells, it might be because they're all Mississippian musical greats. [caption id="attachment_987473" align="alignnone" width="1920"] Morgan Petroski[/caption] Frenchmen Street: New Orleans and Shreveport Municipal Auditorium: Shreveport, Louisiana What do the musical genres of jazz, Cajun, zydeco and swamp pop have in common? They all hail from the great musical state of Louisiana and the impact of the state's musical history cannot be overstated — with blues, country and rock 'n' roll all being shaped by artists from this Southern state. The list of artists hailing from Louisiana reads like a history book of American music and includes: Louis Armstrong, Jerry Lee Lewis, Aaron Neville, and Mahalia Jackson, as well as Jon Batiste, Lainey Wilson and Trombone Shorty more recently. Head to Frenchmen Street in New Orleans for a taste of live music as it can only be experienced in the South. Here, you'll find jazz clubs like The Spotted Cat, while Lafayette is home to Cajun dance halls like Blue Moon Saloon. To get even deeper into the South's music scene, head to north Louisiana and stop by Shreveport Municipal Auditorium. The performance venue is a National Historic Landmark, a designation that recognises locations of outstanding historical significance. Today, live performances continue to take place and the venue offers history tours about the Louisiana Hayride, a music show that not only featured artists like Hank Williams, Johnny Cash and other major artists, but was instrumental in launching the career of the king of rock 'n' roll himself, Elvis Presley. Bluegrass Music Hall of Fame: Owensboro, Kentucky It's difficult to pinpoint where exactly bluegrass originated, but it's easy to quickly brush up on your knowledge of the genre at the Bluegrass Music Hall of Fame and Museum in Owensboro, Kentucky. The museum is a must-visit for music lovers who also want to explore Kentucky's cultural heritage. It celebrates the rich history of bluegrass music with engaging exhibits, live performances and a Hall of Fame honouring influential artists, including Bill Monroe, the "father of bluegrass music." FAME Recording Studio and Muscle Shoals Sound Studio: Muscle Shoals, Alabama The small town of Muscle Shoals, Alabama is one of those must-visit destinations for music lovers in-the-know. Located in the state's north-west, about equidistance from Memphis and Nashville, the town is home to FAME Recording Studio and Muscle Shoals Sound Studio. Many of the greatest hits by Aretha Franklin, Otis Redding, The Rolling Stones and countless others were recorded in these two studios. Across the Tennessee River, about a ten-minute drive away is the town of Florence. It's the birthplace of W.C. Handy, the "father of the blues", and where a museum in his name stands today. Also nearby is Huntsville, where a state-of-the-art, 8000-seat amphitheatre built by Mumford & Sons' member Ben Lovett stands, after being inspired by the Muscle Shoals music scene. Find your next adventure in the South. Discover more unforgettable destinations and start planning your trip with Travel South USA.
Deploying comedy as a coping mechanism, Vice turns an entire chapter of US history into a joke — of sorts. You could say that the George W. Bush administration achieved that very feat itself, but that's not the gag. Rather, Anchorman, Step Brothers and The Other Guys' filmmaker Adam McKay adopts the "well you might as well laugh" approach. The period spanning 2001 to 2009 was rife with deeds and decisions that still rightfully evoke ire today, so Vice bundles it with humour to explore what really went on. It worked for The Big Short to the tune of an Oscar win and four other nominations, including a best director nod for McKay. But it's nowhere near as effective in the writer-director's similarly topical follow-up. Honing its gaze not on the famously laidback Bush (Sam Rockwell), but on his Vice President Dick Cheney (Christian Bale), Vice is an entertainingly made picture. Like its predecessor, it's impassioned, irreverent, designed to get audiences angry about both the past and the present, and so stuffed with stylistic tricks that it's almost overwhelming. Sometimes an intermittently seen narrator (Jesse Plemons) delivers insights to viewers. Sometimes text splashes information across the screen in varying fonts. Mid-movie, credits even start rolling over a fake happy ending to satirise standard biopic conventions. The flourishes keep coming, raising a smile each time, including a scene where the government's main players decide how to carve up Iraq by ordering from a menu rattled off by Alfred Molina. Unfortunately, McKay is so busy telling his tale in an amusing, ironic, gimmick-ridden fashion that he forgets to do more than state the obvious. Seen swigging drinks as a college dropout, then snaking his way through the political ranks, then scheming to expand and consolidate his influence, Cheney is a slippery figure in Vice. Long before he's the Vice, his vice is alcohol — but an ultimatum from his sweetheart Lynne (Amy Adams) puts him on the path to several offices in the White House. His mentor Donald Rumsfeld (Steve Carell) helps, though it's Cheney's ability to work any situation to his advantage that keeps his star rising. Two specific moments seen in the film sum up his evolution. On his first day as a congressional intern, he aligns himself with the Republican party solely because he's impressed with Rumsfeld's buffoonery. Decades later, when asked to become Bush's running mate, he only agrees after ascertaining just how much power he'll be able to usurp. Ruthless, opportunistic, manipulative and determined to advance his own interests above all else: that's Vice's portrait of Cheney, and it's far from pretty. As portrayed by Bale, however, the Machiavellian figure is a sight to behold. Sporting a hunch and a paunch, speaking in gravelly grunts and side-eyeing everyone around him, the ever-committed actor turns in another transformative performance. Indeed, it's a performance that makes viewers feel as if they know what makes Cheney tick beyond his unspoken lust for control, glory and pulling everyone's strings. With Adams suitably steely as Cheney's wife, Rockwell as loose as a Florida party as Dubya and Carell channelling a smarter, more obnoxious version of The Office's Michael Scott as Rumsfeld, Bale is also in very good company. Still, Vice doesn't reach the heights that it's clearly aiming for, or those reached by its stars. Spinning a story about a man who fell just short of his country's highest office, that almost seems fitting. There's an air of smugness about the film, which makes many compelling points but does so in much too self-satisfied a manner. And, as engaging as the movie's romp-like style may be, it makes its case in much too cartoonish a manner too. Virtually at the outset, McKay tells the audience that American citizens just don't want to concern themselves with the ins and outs of government, which is partly how the country's political mess came about. And yet, he both points out and perpetuates that exact same idea. A gleeful surface-level examination of Cheney's chicanery, Vice assumes that viewers who didn't already know the details couldn't — and wouldn't — care without the movie's glossy, jaunty packaging. https://www.youtube.com/watch?v=5i_iDqkQqtI
Jurassic World: The Exhibition is a thing, and it's coming to Melbourne. Based on the blockbuster film of the same name, the exhibition will have its world premiere at Melbourne Museum in March next year. And, according to Dr. Patrick Greene, Museum Victoria's CEO, it's sure to "wow audiences and inspire young minds". The exhibit will feature incredibly life-like animatronic dinosaurs created by Melbourne locals, Creature Technology Company — the same team who developed the dinos for the Walking With Dinosaurs arena spectacular. Did you see the announcement? Terrifying. So it's a good thing they're not real — because if you've seen at least one of the Jurassic Park films, you'd know that dinosaurs aren't always friendly. The exhibition instead gives you a chance to get up close and personal with the creatures in a unique and engaging way. "Visitors to [the exhibition] will get an unprecedented opportunity to be in close proximity to the most amazing creatures to have ever roamed the earth," says Sonny Tilders, creative director at the Creature Technology Company. Jack Horner, one of the film's paleontological advisors (or, Official Dinosaur Guy), is working with the exhibition to make sure that it's both educational and fun. Visitors both young and old will be able to learn more about these prehistoric creatures without having to pore over a dry textbook. Gone are the days of boring museum presentations. Now you can learn about dinosaurs from interactive and theatrical exhibits that might scare your pants off at the same time. This unique experience allows you to experience the events of the film, without having to travel to reception-less Isla Nublar with its dubious emergency protocol. Jurassic Park: The Exhibition features encounters will the realistic life-size dinosaurs, so we can only assume that there will be thousands of people taking pictures pretending to be velociraptor-whisperer, Owen Grady, doing some 'Prattkeeping'. Jurassic World: The Exhibition runs from March 19 to October 9, 2016 at the Melbourne Museum. Advance purchase of tickets is strongly recommended. Image: Universal Pictures
If your ideal cafe visit includes shopping for homewares either before or after your coffee and a bite, St Lucia's Sorelle Eatery understands. Even better: it's making that ritual a one-stop-shop affair. Open since Saturday, May 6 on Hawken Drive, Sorelle Eatery is both an Italian-inspired place to tuck into tiramisu cruffins, Sicilian chilli scrambled eggs, mortadella toasties and mini cannoli, and a space to pick up ceramics, baskets, soft furnishings, and other bits and pieces for your house. On the cafe side, Sorelle Eatery boasts a hefty heritage, hailing from the team behind Milton favourite Tognini's. For three decades, Mark and Narelle Tognini have served up deli and cafe fare on Baroona Road, and now it's their daughters Madeleine and Nastassia's turn just a couple of suburbs over — still in Brisbane's inner west — with Sorelle meaning 'sisters' in Italian. Sorelle Eatery takes its cues from its elder sibling venue; menu-wise, that's where everything from coconut yoghurt panna cotta through to that mortadella, mozzarella and japaleño toastie comes in. Other culinary highlights span spicy merguez sausages with bacon lardons, potato hash, fried eggs and tomato relish from the all-day breakfast menu, plus burrata, saffron risotto, barramundi with asparagus and butter bean sauce, and apple rhubarb crumble among the lunch range from 11am. In a light and airy space that operates five days a week, patrons can sip Sorelle's own custom-blend coffee, or knock back a glass of Italian wines from a tightly curated vino range. Australian and other imported mid-range drops are also on offer. And if you're looking to add something new to your home, the shop's curated selection includes Robert Gordon's pottery, Madras Link's colourful decor and Urban Rituelle's fragrant range.
If you and your mates were to open up a small bar in the suburbs, you'd probably want it to turn out like this. Think cosy and brimming with character. Think chairs you can sink into, and a beer garden likely to steal away many an afternoon and evening. You'll find all that at Mr Henderson in Sandgate — and you'll also find a large drawing of a shoe on their wall, too. That's a nod to the site's former history, with a boot repair place previously calling the building home. Of course, décor and atmosphere is one thing; a bevy of beverages and a flurry of food is another. Don't worry, you'll find all that here too, including eight beers on tap, plenty more in the fridge, and an expertly curated list of wines and spirits. Mr Henderson's dining menu might only boast six options — vegetarian mushroom pate, octopus marinated in chilli and lime, and a cheese selection among them — but that's because they're always calling in a little help from their friends. Don't be surprised to see a food truck outside, with the rotating array of street eats all part of the bar's charms.
In By the Sea, a couple retreats to a scenic ocean-side spot, their motivation as apparent as their baggage. Roland (Brad Pitt) is a writer struggling to put pen to paper, while Vanessa (Angelina Jolie Pitt) is a former dancer bearing emotional wounds from a past tragedy. Their individual troubles feed into a larger, common issue: the inertia in their marriage. The couple continue to look the part, but they're just going through the motions. He wears partially unbuttoned shirts, wanders around with a drink constantly in his hand, and spends more time with a local barkeep (Niels Arestrup) than with his wife. She smokes behind oversized sunglasses, stretches out on their balcony, and speaks as little as possible. They're not confronting their woes — they're avoiding them. Stepping behind the lens for her third stint as a director, Jolie Pitt explores the struggling state of a stale relationship in a script of her own making — and that she's taking on a starring role, alongside her actual husband, is by no means insignificant. Just don't expect an insight into the personal lives of one of the most famous couples on the planet. Instead, Jolie Pitt toys with the concept of being watched – something the real-life duo is no doubt familiar with, both on-screen and off. Vanessa finds a peephole into an adjacent room, discovers that she enjoys peering into the lusty bliss of a honeymooning couple (Melvil Poupaud and Mélanie Laurent), and eventually shares the experience with Roland. They gaze at the private moments of others, the audience observes them in turn, and more is seen than said. By the Sea convincingly conveys the unspoken elements of voyeurism; the forbidden becomes thrilling, whether spying on a neighbour or reading accounts of celebrity relationships. The film also shows how becoming invested in the life of someone else from afar can both mask and amplify the problems of those doing the looking, such as unhappiness and alienation. Indeed, while this may be the first time the couple have shared the screen since 2005's Mr. and Mrs. Smith, it's not just a case of lovers jetting off to a picturesque setting and sulking around a nice hotel. Jolie Pitt's feature is astute and incisive in its examination of the ebbs and flows of long-term bonds, and owes a debt to big screen melodrama and minimalism. The ghosts of great '70s European cinema – of character-based theatrics allowed to unfold slowly, and of pain rippling beyond composed faces and lavish surroundings – can be felt in every frame. Director of photography Christian Berger, a veteran of Michael Haneke's films such as Cache and The White Ribbon, certainly assists in evoking a throwback vibe and a sense of closeness. Nevertheless, it's the two leads who remain the true stars of the show. They weather some trying dialogue as well as an unsatisfying late revelation, and help the movie's repetition and tension become rhythmic and immersive. Their performances are also the reason that, even when the feature doesn't quite come together, it still remains hard to forget. In presenting a tale of intimacy and scrutiny, they're a pair no one can tear their eyes away from.
Have you ever lost an entire evening to watching Rage? Have you stumbled in after a night out, turned on the TV, spied a few songs you love and just kept watching? Of course you have — because we all fall into that category. So, you already know just how ace music videos can be, and that they're an artform all by themselves. Taking over The Tivoli on Wednesday, October 27, Reel Music Video Festival is all about that winning combination of sound and vision. It's also a bit of a combo event itself. You'll watch music videos, see bands play live and also be on hand to find out who wins a heap of the fest's awards. Those gongs are all about celebrating Queensland's best new music vids, including the people behind them — as is the entire one-night fest, too. Tickets cost $35, creative discussions are also on the bill, and you'll see prizes awarded for Best Direction, Best Regional, Best Cinematography, Best Editing, Best Student, Best Creative and Audience Choice — with Cub Sport, Jarryd James, JFDR, Clea and All India Radio among the nominees.
As school kids, we're taught to think of art and science as two very different beasts. But neuroscience now shows this dichotomy to be false — when performing most complex tasks, we use both the logical and creative sides of our brain. And this July, at Carriageworks, Japanese artist Ryoji Ikeda will smash this division to smithereens by transforming science into art with two epic installations entitled micro | macro. The work — which Ikeda developed during a residency at the renowned science institution CERN in Switzerland — is divided into two sections. The first, the planck universe [micro], reveals atoms by blowing them up into visible proportions. This mind-bending installation will cover a whopping 172.8 square metres of space inside the Redfern multi-arts institution. The second, the planck universe [macro], is a ten-metre-high projection capturing the natural world in various scales — from the human perspective all the way to the cosmic one. "My work is created by reducing sound, light and the world into sine waves, pixels and data… so that the world can be viewed once more at a different resolution," said Ikeda of his new installations. As you wander through both installations, expect to feel very, very small, while finding yourself asking some big, big questions. What do we know? What can we know? Is what we see really all that it seems? This is Ikeda's third show at Carriageworks, previously presenting Superposition in 2015 and Test Pattern [No 5] in 2013, and it'll be as cutting-edge and immersive as ever. Images: Martin Wagenhan & Zan Wimberley
Two Door Cinema Club are bringing in a new season, Volcano Choir are erupting with musical brilliance and RAC want us to let it all go and just enjoy the weekend. 1. 'CHANGING OF THE SEASONS' - TWO DOOR CINEMA CLUB August has been a near perfect month of music for this writer. HAIM released a contender for song of the year with 'The Wire' and announced their album release date, Lorde followed suit and will embark on an Australian tour in October and now the band that occupies all of my playlists (and my heart) have treated us all to their freshest serving of Irish indie rock, and boy is it a doozie. 'Changing of the Seasons' showcases the band's traditional dance-inducing sound just in time for the start of spring, when the band will hopefully announce the details of their upcoming untitled EP. 2. 'DADDY'S MONEY' - JOHNNY STIMSON Johnny Stimson is on a personal mission to make the world groove. His last single, 'Human Man', compelled us all to move, and his latest offering, 'Daddy's Money', gets everything dancing. He hits the vocal lows and highs to sonic perfection, which when combined with the song's bouncing bassline creates an infectious work of fun for your speakers. 3. 'COMRADE' - VOLCANO CHOIR Everything that Justin Vernon touches turns to musical gold. His brilliance transformed Bon Iver into arguably the indie band of the century so far and he is now returning his talents to the collaboration known as Volcano Choir. Whilst the band released their debut album Unmap in 2009 to little fanfare, the brilliant blend led to a blooming fan base eager to hear more. Now with the band set to drop sophomore release Repave next week on September 3, they have offered up 'Comrade', a beautiful harmony ready to be played over and over again until the sun comes up, at which point you'll let it lull you to sleep. A track for all occasions. 4. 'LET GO' - RAC FEAT. KELE & MNDR RAC are known largely for their remixing, but from time to time they take a break to create brand-new material of their own, and they should do it more often as it produces dance gems like this. With a little help from MNDR and Kele of Bloc Party fame, they have made something, well, perfect. I defy you to not feel impelled to dance to this song. 5. 'WE ARE THE CHILDREN' - NOVA & THE EXPERIENCE This song really only needs one word to describe it: happy. So go on, have a listen and be happy (and download it here for free).
Thanks to one of Milton's famous residents, Brisbane will always be known for XXXX beer. The River City is a thriving craft brewery hub, too. Spirits-wise, it has even scored its own Brisbane gin. But there might be no tipple that screams Brissie as much as BY.ARTISANS' signature drop. The new West End distillery's gin isn't just made right here in the Sunshine State capital — it uses old eucalyptus leaves from a Brisbane icon, aka Lone Pine Koala Sanctuary, to create the beverage. Lone Pine's koalas aren't missing out on their greenery; rather, BY.ARTISANS is using the leaves that don't get eaten by the herbivorous marsupials each day. The resulting creation is indeed called Signature Gin, and it can be bought at the distillery's new Jane Street flagship — or enjoyed onsite. Adding a new sip to everyone's must-drink list is one of motivation behind BY.ARTISANS, as proves the aim of every outfit that makes booze. Getting attention on Queensland-born artistry and Sunshine State-made products is another key reason for being. Teaming up with one of the city's best-known destinations fits that ethos, clearly. Tempting eyes towards the brand's just-opened base won't be hard — the slick, sleek, minimalist-leaning venue, which favours natural tones with pops of greenery and silver distilling equipment around the place, instantly stands out. It isn't just somewhere where spirits are made and drunk, either. Also part of the setup: a cafe serving a curated range of food and a creative haven, where tasting rooms and the bar sit beside an event space, a retail space and room for workshops. For those stopping by for a bite, the all-day dining menu includes marinated mixed olives, gildas, pickled vegetables and crackers with hummus, Portuguese custard tarts, and daily-changing toasties and crostones. For two, there's also a cheese and charcuterie platter. "The name BY.ARTISANS reflects our commitment to craftsmanship, shining a light on the artistry and dedication behind every creation," explains Co-Founder Ginn Lai. "There are no shortcuts — each product is hand-made in small batches with carefully sourced ingredients and a focus on quality." "We wanted to create a space that challenges the preconceptions of a distillery, and offers something new and unexpected," added fellow Co-Founder and Brand Director Alexander Lotersztain said. "We have created a retreat that embraces the community, emphasises the space's multi-functionality, and is warm and welcoming during the day and at night," continues Lotersztain about an address that mirrors the pared-back aesthetics of the brand's Signature Gin, which comes in a eye-catching white bottle. "The retail space, too, has a curated selection of amazing homewares and objects from local artists and designers." As for the Signature Gin, a small-batch drop that goes heavy on native botanicals, it's been crafted under the guidance of BY.ARTISANS's third Co-Founder Alexander Bell, who is also the resident Master Distiller — and a chemical engineer. Expect to taste not only eucalyptus, but also lemon myrtle, cinnamon myrtle, lavender and wattleseed, all in a tipple made in a still designed to be one of the country's most energy-efficient by Bell. "This is a first-of-its-kind distillation system, capable of producing not only spirits but also a diverse range of essential oils and hydrosols from local botanicals," he notes. "What sets our distillery apart is its versatility. We use the same equipment to produce spirits of exceptional quality as we do to craft lifestyle products such as bespoke soaps, candles and natural dye merchandise — all while minimising our energy and resource use." Find BY.ARTISANS at 99 Jane Street, West End — open 10am–10pm Thursday–Saturday and 10am–5pm Sunday. Head to the distillery's website for more information. Images: Florian Groehn / Thomas Oliver.
If you live in Brisbane, you love air-conditioning. Or, to be more specific, you love the reprieve from the heat that it offers. Still, grabbing a cuppa in a garden is one of the best possible things you could do if you're venturing out into the warmth — and Wooloowin now has the perfect spot for it. Making a cute little weatherboard space its own, Shambhala Espresso isn't just about cranking out your caffeine fix, with its blends of choice coming courtesy of Brissie's own Louie Louie Roasters. The shady cafe is also all about serving up great bites to eat to go with it. Until midday on weekends and 2pm on weekdays, that includes all all-day menu of seasonal offerings that really will satisfy your stomach at any time, plus a host of specials. Regular fare includes date and apricot fruit toast, avo with minty beetroot and ricotta spread on quinoa and soy sourdough, and a stacked rueben with Swiss cheese and house-made pickles, because standard versions of all of the above just won't cut it. As for once-offs, Shambhala has whipped up sweet and savoury blinis; baked egg white frittata; bacon, egg and haloumi burgers; brioche French toast and roasted mushrooms with garlic butter so far. Yes, you'll have to stop by more than once. Image: Styl in Images.
Before Parasite and after Parasite: for audiences, for the film world in general and for composer Jung Jae-il, that then-and-now split applies. Bong Joon-ho's 2019 movie earned immensely deserved devotion and collected almost every accolade that it could — including the Palme d'Or at Cannes, the Sydney Film Prize, a Golden Globe, two BAFTAs, a Screen Actors Guild Award, an Asian Pacific Screen Award, five Grand Bell Awards and, making history, four Oscars — as it wowed everyone, viewers and awards voters alike, with its class-clash black comedy/thriller tale. It wasn't Jung's first collaboration with the Memories of Murder, The Host and Snowpiercer director or his last; however, it was an unsurprisingly pivotal, influential and impactful experience. "First of all, I just fell in love with film music," Jung tells Concrete Playground. "Because I'd been composing for so many genres, like dance, pop, all genres, for decades, but I'd never thought I would be a professional film composer," he continues. Prior to Parasite, Jung had other film scores to his name, including for the Bong co-written and produced Haemoo (also known as Sea Fog) and the Bong-directed Okja, but lending his musical talents to the Kim family's efforts to infiltrate the Park household "was very challenging and exciting," he notes. "And making music for the film, it just made me go deep inside of me. Trying to translate the director's vision and the edit, the cuts, I have to understand what the cut needs in a musical way." "I felt like I have to be a translator‚ to translate the director's vision to musical language. And it was very exciting — sometimes very despairing — but [I thought] 'oh, this could be my turning point'," Jung furthers. "And as a pop musician, pop composer, pop music is very short. Sometimes it's even two minutes. And I had a really hard time to make that short music, because I like to make drama in music — but to make drama, it's too short," he says. "So all of this is very inspiring. I can give my mind more to film music. I just love that." Jung's music career dates back to being a teenager. For the big screen, he's now also the composer behind Bong's Mickey 17, Hirokazu Kore-eda's Broker — the acclaimed Japanese filmmaker and Shoplifters Palme d'Or-winner's first South Korean feature — and 2025 Sundance-premiering American dramedy Twinless. On the small screen, one of the biggest streaming sensations of the 2020s wouldn't have proven the same without his integral contribution, with scoring Squid Game also on Jung's resume. [caption id="attachment_1009331" align="alignnone" width="1920"] Squid Game S3. No Ju-han/Netflix © 2025[/caption] Thanks to that fight-to-the-death hit Netflix dystopian thriller dropping its second season at the end of 2024, then its third and final run in mid-2025, and also due to Mickey 17 reaching cinemas and Twinless doing the film festival rounds as well, the past year has been particularly huge for Jung. Now comes a trip to Australia for something that's rarely occurred before: Parasite in Concert. At the Melbourne International Film Festival — where Twinless is also playing — the composer is both performing and conducting Parasite's score live, aided by Orchestra Victoria, across two shows on one day. "It's very special for any composer, because it's a live-to-picture show. Just performing scores live is very common, but with the screen from top to the bottom it's so very rare. It is quite challenging as well — but for me, it's a lifetime experience as well," Jung advises. The complexity springs "because I should play exactly with the screen. So we have a very complicated playing system, the metronome and clicks, and all that. That is very challenging." [caption id="attachment_1016407" align="alignnone" width="1920"] Charley Gallay/Getty Images for Netflix[/caption] What goes into preparing for Parasite in Concert for Jung? "It's very simple to play just by myself, but I have to collaborate with the orchestra, so I should prepare the score and parts, and talk with the maestro or the musical director," he explains. "And I'm going to move to Melbourne just before, three days or two days before the show, and rehearse with them for about a whole day. So I should prepare the two-hour score in a day. That's very challenging for me, but very exciting as well." Attendees will witness the results on Saturday, August 23, 2025 at Melbourne's Hamer Hall, in what's set to be one of the highlights of MIFF's 73rd edition — and a stunning way to help close out the festival's Thursday, August 7–Saturday, August 24 in-person stint for the year (its online program also runs from Friday, August 15–Sunday, August 31). Jung is also set to speak about his career on the same morning in an hour-long in-conversation session. In the lead up to his trip Down Under, we chatted with him about his composing journey so far, too, as well as working with Bong Joon-ho multiple times, finding inspiration, his path to Squid Game, his first response to the show's premise and more. On Jung's Journey as a Composer Leading Up to Parasite "When I was a teenager, I worked as a session musician — guitar and piano. And for many composers and many singers. And one day, this one composer called Won Il— he is a very famous composer, especially in traditional and film composing in Korea — suggested me to arrange some parts of a score, and that was the very first start for me. And then as a main composer, I worked for a film called Marine Boy. That was my first film. Nobody knows the film in Korea, but it was a little bit not a good experience for me — too many works and too little income. So I thought 'I cannot be a film composer right now'. So I just forgot about that. And after that, Baram just came to me to work with them, and they required me to make music with only traditional Korean instruments. That was very challenging and very interesting, so that's why I said 'okay' for them. And with that film, it was very interesting, but not helpful for my life — not helpful for my financial situation. So I just forgot that. And after that came the film Sea Fog, which is the film where the executive producer was Bong Joon-ho. And with the film, 'oh, this is film scoring. Oh, this is quite exciting.' And I love the orchestra — and I could use the orchestra a lot. So that was a very satisfying project. Sea Fog, nobody knows as well, but I just started to see the precious thing in film scoring. And with Okja, Parasite, I just definitely fell in love with film scoring." On Jung's Creative Partnership with Bong Joon-ho Across Okja, Parasite and Mickey 17 "As I said before, I'm just a translator. I don't want to express my own individual musical taste or musical hope like that. I'm concentrating on what this director is thinking and what this cut is saying to me. That's why Mr Bong Joon-ho likes me, because I'm just concentrating on his vision only. But that's the basic attitude for me to work with other directors as well." On the Bong Joon-ho's Meticulousness and Precision — Including Only Shooting the Exact Shots He Needs, and How That Type of Approach Carries Over to Movie Scores "To be honest, that is very common in Korean film. Everybody does that. But Bong Joon-ho really explains precisely what he's thinking. So, I don't say that much. He just tells me what he's been thinking and how this cut is completed — I think that's it. And when you get the final locked version of cut, after that I have to take care of everything regarding music. But when he doesn't like my first version of music, he tells me what he doesn't like, what he likes, very precisely — sometimes in a very imaginative way, sometimes in a very practical way. That's why Mr Bong Joon-ho is different among other directors." On Finding Inspiration for a Score From Beyond a Director's Instructions "For Parasite, Bong Joon-ho just told me that he'd been listening to baroque music, baroque-era music, a lot while he was writing the script. But as a self-taught composer, I didn't know much about baroque music. So I had to research Vivaldi, Bach every day. Sometimes I played Bach's 'Goldberg Variations' every morning. So I practiced and I exercised to get the baroque elements into my body, into my heart. That's one way to find the inspiration." On Getting Into the Right Mindset for Parasite "As a film composer, the first opening theme is very important. Even though it's not a main theme, the opening theme is very important for a composer because it's the first step. And with that first step, the path is going through — and in the script of Parasite, the first phrase was 'very hopeful music with despair'. I didn't know what to do, so I tried several versions of opening them." On How Genre Impacts the Way That Jung Tackles a Film Score "Basically I love drama, because I love to use the orchestra or piano, rather than computer music or band music. So I prefer drama rather than sci-fi or a thriller. For Mickey 17, it's a sci-fi, but it's a film about love at the same time — love and hope and peace. So I could use piano and orchestra in a very traditional way, because even if it's sci-fi, I could make the score in a very traditional way — and I am very happy with that." On Working with Hirokazu Kore-eda on Broker "I just watched this film Nobody Knows in 2004. I was really shocked, and I just fell in love with this film. And I've been tracking all of his masterpieces for decades. And finally, I heard the news that he is going to make a film with Korean staff and Korean actors. So I just wrote a letter to him with my previous works: 'I would love to work with you in Korea'. That's how I worked with him. That was the first time I approached a director before he approached me." On How Parasite's Success Helped Jung's Career, Including Putting Him on the Path to Squid Game "It was unbelievable recognition for me. I'm just a person who works backstage, behind the curtain. I had many opportunities, many chances. And because of Parasite, I just met director Hwang Dong-hyuk of Squid Game. And Squid Game is an unbelievable success. It's a phenomenon. I got proposals from many American directors for many scripts — and even I released my own solo album with Decca Records in London, which I'd never thought about before. But for me, my life is not that changed, because I'm just working alone in my own studio. But the obvious thing is now I don't have to prove myself to other people. That's quite comfortable for me — I only need to concentrate on how to make good music. That's the most-important part, most-important change for me. And I just fell in love with series or film music — to translate the vision into musical language. That's very powerful work and very useful work at the same time, because film is not going to fade away — music is film's best friend. So they're the most-exciting changes for me." On Jung's First Response to Squid Game's Premise "It was so brutal and cruel, so I just thought 'I could do this' and 'this is very quite exciting'. And I was a fan of Mr Hwang Dong-hyuk because of his previous work called The Fortress. I've watched that film about 10–20 times. So I had very deep faith in him. So even though the script was very brutal, full of blood, I could read the humanity. The very deep studying of humanity — I could read that in the script, even in the tragedy and violence. [caption id="attachment_977953" align="alignnone" width="1920"] Squid Game S2. No Ju-han/Netflix © 2024[/caption] So 'yeah, why not?'. Because he was my hero, one of my heroes — and 'yeah, I would love to do this'. But for me, it was very challenging as well because it was a series — my first time on a series — because I was very used to two-hour films. But this is nine-hour films. So 'oh, I could do that?'. That was very challenging for me." [caption id="attachment_840359" align="alignnone" width="1920"] Squid Game S1[/caption] On the Influences for Squid Game's Score "Every time that I make a new score, I search for a unique way. Unique is better than common things. That's how I'm thinking. So I just found these musical instruments which are very familiar for Korean children in elementary school — they learn that instruments like recorder, castanets, tambourine, melodeon, that kind of thing. And 'oh, that that could be very interesting'. [caption id="attachment_1007294" align="alignnone" width="1920"] Squid Game S3. No Ju-han/Netflix © 2025[/caption] And children are not good at performing, so they make disharmonies and no rhythms, then that makes some kind of scary sounds as well. So 'let's start with these elements'. That was my first way to approach Squid Game. And I composed some cues that felt a little bit like Hollywood-style music, but Mr Hwang Dong-hyuk really hated that Hollywood-style approach. So I just thought 'alright, I could just remove this Hollywood-style, I'm going to stick to very unique and powerful, sometimes-traditional style'. That's how it started from the first part." On Evolving the Music for Squid Game Across Three Seasons "I think I just concentrated on how to make this scene powerful. I could revise or rearrange and repeat the main theme — the successful themes — time to time, but I decided to make original ones a little bit more. So one is very different from two. Two is very different from one. And three is very different from two. But for season three, I repeated this one theme called 'I Remember My Name', which is first used in season one and it represents the farewell in death. That is the most-repeated theme of Squid Game — and other than that, all are original." Parasite Live in Concert takes place on Saturday, August 23, 2025 at Hamer Hall, Arts Centre Melbourne, 100 St Kilda Road, Southbank — head to the venue website for tickets and further information. The 2025 Melbourne International Film Festival runs from Thursday, August 7–Sunday, August 24 at a variety of venues around Melbourne; from Friday, August 15–Sunday, August 17 and Friday, August 22–Sunday, August 24 in regional Victoria; and online nationwide from Friday, August 15–Sunday, August 31. For further details, visit the MIFF website.
AMENDMENT: October 22, 2018 — This article previously stated that Crazy Rider Xpress would open to the public on November 4. This was incorrect, it will open to the public on Monday, November 5. Got the need for speed? Well, soon you'll be able to experience a rush similar to being launched into outer space (supposedly) when the world's fastest rollercoaster zip-line opens in Sydney next month. Latest addition to the adrenaline-packed activities at TreeTops Adventure Park, the Crazy Rider Xpress sends punters hurtling through the air, downhill, at speeds of up to 50kms per hour. Clocking in at around 2.3g-force, that's not too far from what an astronaut experiences being rocketed from earth. Open to (brave members of) the public from Monday, November 5, the new high-thrills ride weaves half a kilometre through the trees on a rollercoaster-style zip-line track, complete with a few cheeky 360-degree loop-the-loops along the way. That makes for some pretty stellar views and a top-notch Go-Pro shoot...if, of course, your nerves aren't too frazzled to take in those surroundings. While you're there, there are a heap of other sly-high activities you do, including wall climbs and rope courses through the trees The aerial adventure park — which also has outposts in Pennant Hills, Coffs Harbour, Central Coast and Newcastle — already has a Crazy Rider on the Central Coast, but it's longer (one kilometre) and not quite as fast. To give you some idea of what to expect, though, the Central Coast one goes for about an hour, has four 360-degree loops and costs $79. Crazy Rider Xpress will open on Monday, November 5, at TreeTops Adventure Park Western Sydney, 749 Elizabeth Drive, Abbotsbury. Images: TreeTops Crazy Rider, Central Coast
Classic cocktails are called classics for a reason. They've stood the test of time, they're easy to whip up anywhere and — perhaps most importantly — they're almost impossible to mess up. But what if the recipes were a little more…nutty? Skrewball Peanut Butter Whiskey is here to throw a curveball into your bar cart staples. There's no shortage of novelty spirits on the shelf, but this one has done it right. Created by husband-and-wife team Steve Yeng and Brittany Merrill Yeng in California, this flavoured liqueur blends American whiskey with natural peanut butter flavour, resulting in a spirit that's sweet, smooth and nutty. When used right, it can unlock a completely different kind of cocktail. Whether you're a cocktail aficionado or just partial to a decent drink after work, swapping in this whiskey gives old favourites an edge that's unexpected, yet weirdly spot-on. Don't believe us? Here are seven classic cocktails that get even better with a peanut butter twist. Old Fashioned The old fashioned is simple: whiskey, sugar, bitters, ice. No garnish, unless you really feel like showing off. Swap in Skrewball Peanut Butter Whiskey and you're still staying true to that formula, just with a bit more flavour. The roasted peanuts round out the sweetness and soften the citrus in the bitters. So, you get a richer, smoother version of the drink you already know. Serve it with a big ice cube and a twist of orange peel for a fresh take on the old school, without losing any of the ritual. Get the recipe here. Manhattan This one's a little wild, but it works. Strong, slightly sweet and built for sipping, the manhattan is a go-to for good reason. A hint of peanut butter doesn't mess with its DNA, but it does add to it. This recipe keeps the bones of the original but trades out sweet vermouth for Skrewball Peanut Butter Whiskey and a splash of amaro. The result is a silky, peanutty drink you can garnish with a cherry and orange twist. Get the recipe here. [caption id="attachment_1014576" align="aligncenter" width="1920"] iStock[/caption] Mudslide A classic mudslide should taste like a milkshake with an extra kick. And this one doesn't disappoint. The Skrewball version blends peanut butter whiskey with equal parts Irish cream liqueur and coffee liqueur, with a scoop of vanilla ice cream and served with a chocolate syrup drizzle. You could sip this slowly, but let's be honest — it'll be gone in minutes. Get the recipe here. Irish Coffee Peanut butter and coffee are a match made in heaven, which makes the classic Irish Coffee another cocktail worth reinventing. This cold-weather go-to gets an upgrade by swapping out traditional Irish whiskey for a hit of peanut butter and hot black coffee. Enjoy it as is, or top with whipped cream and dust it with chocolate powder for a little sweetness. Get the recipe here. Espresso Martini While we're on the coffee bandwagon, here's another classic twist: the espresso martini. Strong, bitter and full of peanut flavour, this espresso martini remix skips vodka in favour of the richer and smoother, Skrewball Peanut Butter Whiskey. Shake it with coffee liqueur, freshly brewed espresso and ice, then strain into a martini glass with a couple of espresso beans to garnish. Yum. Get the recipe here. Paloma The Paloma is usually a tequila-heavy spritz, but this version dials up the fun with a peanut butter backbone and a splash of grapefruit juice. It's still refreshing and citrusy with tequila and Aperol, but that nutty flavour turns it into something you'll start to crave when the sun's out. To make, simply pour Skrewball Peanut Butter Whiskey, tequila, sour mix and pineapple juice over ice and garnish with lemon. Get the recipe here. Margarita This one sounds wrong on paper, until you try it. An extreme riff on the classic margarita, here tequila and lime take a backseat to Skrewball Peanut Butter Whiskey and pineapple juice. It's fruity but not sugary, and sharp but not tart. If you're the kind of person who likes to experiment with strange flavour combos, this is your moment. Get the recipe here. Adding peanut butter whiskey to your favourite classic cocktails may not be the obvious choice — but once you've tried it in one, you'll want to remake them all. Explore more Skrewball Peanut Butter Whiskey cocktail recipes on the website.
A strange thing happens when you're an Australian visiting Japan: at least a couple of times during your trip, whether you're in a shop, izakaya or ramen joint — or walking across Shibuya's scramble crossing, scoping out the Studio Ghibli museum, wandering through a kaleidoscopic maze of digital art or singing karaoke in a ferris wheel — you'll hear a familiar accent echoing nearby. Before the pandemic, Japan had cemented itself as a favourite holiday destination for Aussies, making it highly likely that you'd encounter a fellow Australian or several in your travels. But making the journey has been impossible for the past few years, thanks to both local and Japanese border restrictions. If a Tokyo trip has been at the top of your post-restrictions bucket list, good news has finally arrived: Japan has announced that Australian tourists can again visit, kicking off sometime later in May. That said, if you're already packing your suitcase, there's one huge caveat, with the country only allowing in tourists travelling as part of strictly controlled package tours. The Japanese Tourism Agency advised that it'll begin letting small group tours to enter the country from later this month, to test reopening the border in full sometime in the future. To make the trip, you'll need to be triple-vaccinated, and be visiting as part of a planned tour in conjunction with travel agencies that's accompanied at all times by a tour conductor, and has a fixed itinerary. As well as Aussie tourists, triple-vaccinated travellers from the US, Thailand and Singapore will also be able to head to Japan as part of the trial. Designed to help the Japanese government assess health and safety protocols, and work how to manage any COVID-19 cases among visitors, the test was initially slated to take place earlier; however, due to the Omicron variant and its impact in Japan, it was pushed back. Exactly how long the testing phase will last for, and when Japan might completely reopen its borders to international holidaymakers, hasn't yet been revealed. Earlier this month, though, in a speech given in London, Japanese Prime Minister Fumio Kishida said that the next phase of reopening might occur in June — albeit without any further specifics. "At the end of last year, Japan strengthened its border control measures in response to the global spread of the Omicron variant. It was an essential public health step to delay the variant's entry into the country. This allowed us to fortify our healthcare system and promote vaccinations. I hope it is not too boastful to say that Japan's response to COVID-19 has been one of the most successful in the world," the Prime Minister advised. "We have now eased border control measures significantly, with the next easing taking place in June, when Japan will introduce a smoother entry process similar to that of other G7 members." For further details about visiting Japan and its border restrictions, head to the Japan Tourism Agency website. Via Reuters.
American singer-songwriter Tom Krell (aka How to Dress Well) once described his sound as a convergence of Mariah Carey and Elliott Smith. It's that juncture of emo-acoustic and twinkly sentimental balladry that's led to Krell's music being labelled as 'lo-fi R&B'. Certainly in his older records, that came through. But with 2014 album "What is This Heart?" Krell's moving away from those early roots, towards something more musically diverse. (That said, the chorus of 'Precious Love' is decisively reminiscent of an early '00s R&B ballad, and it's great.) Krell picked his stage name semi-randomly from the spine of an old book he bought from a used bookstore ten years ago — justifying it by pointing out that we don't generally choose our names. True. That preoccupation with the uber real is reflected in his music. His lyrics are at times so personal they're almost uncomfortable, but then he turns it all weirdly in on itself with alien synth sounds and a falsetto that's painfully otherworldly — like, as one YouTube commenter put it so aptly, the ghosts of dead R&B singers come back to sing in empty bathroom stalls. Take this cover of Janet Jackson's 'Again'. Without a ukulele in sight, it's a refreshing antidote to the tired trend of white singers doing twee covers of the work of black musicians. We caught up with the super well-articulated, notoriously candid Krell ahead of his appearance at Sydney Festival, Melbourne's Sugar Mountain Festival and Brisbane's Australia Day Eve at the Brightside to chat about his newest album, the nature of quotation, embracing your influences, and creating intense, muscular live shows that are all about presence. Earlier this year you released your newest album, "What is This Heart?" which you recorded in Berlin with Rodaidh McDonald. What was the recording process like? It was cool. I came in with what could have been a finished record and then Rodaidh really helped me go through it. I'd have a guitar recorded and he would ask me, "What do you want this guitar to sound like?" and I'd say, "I want it to sound really close to the strings, and really raw-sounding." We'd re-record it and he'd help me dial in the details of the details. He's a really helpful engineer. [embed]https://www.youtube.com/watch?v=IwRr2YyQD80[/embed] Making this album, were you influenced by anything in particular? How do you deal with your influences? A million things. For every song there's a whole handful of influences. I really do live through my influences. A lot of people I know write, and then listen to music separately. When they're writing they want to have this control, they worry that what they're making sounds too much like something else. I kind of have the opposite approach. While I'm working, if I hit on something that sounds like something else, I'll go listen to the song and try to figure out what it was in that song that so moved me that it snuck its way into my creative process. A lot of people have anxiety over influence, but I just really find it super inspiring. Let's talk about the title, "What is This Heart?". It's in quotation marks — what effect do they have for you? Quotation is a weird thing. On the one hand, it's about attributing something to someone. It's illegal to misquote someone because we really care, for some reason, about the things we say when they're in quotes. I started thinking a lot about that. An album is sort of like a long quote from me: this is what I want to say, and what I'm willing to have said in my name. Quotes also put things in scenes. Suddenly it's not just text on a piece of cardboard, but maybe it came out of someone's mouth. These things were stirring for me when I was writing. When I look back, what kinds of things do I want to have attributed to me? What kinds of things do I want people to say that I said? When I was writing lyrics for the record I also constantly found that I would think of something that someone said to me. A lot of the lyrics are made up of different kinds of quotes — things that I said that I wish I hadn't said, things that I overheard, things that I said that I didn't know the full consequences of. There's a lot going on with quotation in general. Talking about your lyrics, a lot of them seem deeply personal, or like they're really heavy with emotion. Does something compel you to write that kind of music? I suppose so. I don't think that they're personal in the sense of the coffee shop confessional. There are people who write much more directly personal things than I do. I would say that if they're personal, they're indirectly personal. The way I write, it is quite emotional. I guess I'm interested in the emotional life of people in general, which is another way of saying I'm interested in the way people live. Not in what people say when you ask them, "Hey, how was your day?" They'll tell they went to the library, they went to work, they went to the coffee shop, or whatever. But what I'm interested in in people and the self is not that story, but more the way it feels to actually live a life, the actual experience of life. That's the emotional part of life. So you went to the grocery store? Why, when you were walking down the aisle of the grocery store, did you think of your mother ageing and feel an intense pang of guilt? That's the kind of stuff that I'm interested in. Actual life. [embed]https://www.youtube.com/watch?v=ZTkGTfsMRYE[/embed] How would you explain the progression to this album from your previous albums? Especially because Love Remains, your first album, was very raw and stripped back — how did you move towards something more produced? Weirdly, I think of this newest record as the least produced. On Love Remains every single sound is filtered and changed to the point of being something really weird. It's full of little weird, suspended-in-time sound sculpture things. But for some of the stuff on this new record I just opened the microphone and sang right into it. There's acoustic guitar on Love Remains, but there's no way anybody other than me could ever pick it out because it just sounds like a weird wash indistinguishable from some of the other sounds. That's something I was actively trying to do because I wanted to make a specific record. Each record is a different response to a different time in my life. I don't really know what's next in terms of how to produce the next record, but it felt important for me on this record to do something with that real life thing I was just talking about. I wanted the music to have a realistic quality to it. So you're coming to Australia for Sydney Festival. In the past you've said that, rather than being like dance parties, you think of your shows as being more like a theatre performances. What's a How to Dress Well show like? I still don't think of what we do as a dance party, because it just isn't. But there are moments like that. The thing for me with the live show now is that I want it to be extremely physical and really obvious that there's a person present in front of you, doing this quite demanding performance. Another thing I was motivated by on this record was having really intense dynamic shifts. Having one moment be really quiet so you can sort of hear yourself breathing while you're listening and then another moment being so loud and muscular and intense that it knocks you back on your heels. That's a tough thing to do on a record. It's a much easier thing to do live because you can literally blast someone's head off and then very quickly go to something really quiet and subtle. I really do think we have the best show I've seen right now. I don’t think I know anybody else who plays a better concert than us, right now, which is cool. I really am super extremely proud of what we're doing live. It's super musical, really funny and fun, and really sad and touching. There are tender moments, and aggressive moments. It covers all the ground I really love in music and live music and live art. We have a really beautiful visual presentation as well that's weirdly connected with my motions. When I move quickly the visuals move. It's really cool. We've worked really hard on it. It's kind of the shit. See How to Dress Well as part of Sydney Festival's FBi Radio series at The Aurora on January 23, at Sugar Mountain Festival on January 24, or at The Brightside's Australia Day Eve on January 25. "What is This Heart?" is out now via Domino.
Once a lazy comfort food saved for cold evenings of sneaky indulgence, the humble mac 'n' cheese is moving up in the world, now savoured as a prime and novel dish on any menu worth its cheddar. We've found the best places to enjoy this old favourite in public. Please, no track pants. SOUTH SIDE DINER Now a well-known go-to for any comforting Americana-inspired dining experience, South Side Diner do indeed offer mac 'n' cheese. Better yet, it's the fancy kind, with green peas, leafy spinach and goat's cheese. What's more, you can wander over to the Diner on a cool Monday evening and indulge in their two-for-one offering, making this a delicious option for lazy weeknight comfort dining. VINTAGED BAR + GRILL If you're looking to place a fine dining spin on your favourite cheesy dish, you can do just that at The Hilton. Don your finest duds and make a reservation to enjoy their mac and cheese with preserved truffles. This means you will get the primo truffle taste as you break through that sweet, stringy melted cheese. Extra napkins may be required if you want to maintain the high-class charade. RED HOOK Sometimes the best cheesy pasta meal doesn't have to be the main star of your dining experience. Deep down, yes, you know it's your favourite, but why settle for one dish when you can pair it with a deeply indulgent NY-style burger at Red Hook? Their mac and cheese squares happily complement other mains on the menu, allowing you to enjoy the greater greasy experience. AT SIXES AND SEVENS Of course the already-impressive menu at Sixes has a mac and cheese offering. While this particular dish comes as a side, the additions of gruyere and smoked cheddar make for a pretty sophisticated take on old-style comfort food. You'll get a complex nutty, semi-sweet taste in among the many types of cheese, which in itself is something to be pretty excited about. Top image: South Side Diner.
Last year, the Fever-Tree Gin & Tonic Festival was an in-person affair, with the huge gin and tonic festival descending upon Sydney's Centennial Park. That was then, though. For 2020, lovers of the classic tipple can look forward to the Fever-Tree Online Gin & Tonic Festival instead. Yes, as the extra word in its title makes plain, it's going virtual. Here, you'll have the chance to sample eight different gins, as matched with top tonics from Fever-Tree's range of mixers. For $55, they'll be sent to your house — in a festival kit that also includes homemade dehydrated garnishes, two glasses, a tasting mat, snacks and a pairing guide, as well as access to the digital festival. Then, all you need to do is hop online from 5.30–7pm on Saturday, June 13, when the fest will unleash a heap of juniper-themed boozy fun. Think guided tastings and gin masterclasses, with bartenders and gin experts on hand. Gins from Adelaide Hills, Bombay Sapphire and Hendrick's will also be on offer — and if you already have enough gin at home, you can join in for free on the night without needing to buy a festival kit. A link to the virtual fest will be made available on Fever-Tree's social media on the date.
The best stargazing experiences are usually found in the far, far wilderness. So you might be surprised to learn that Mystic Mountain Tours offers an exceptional astro-tourism adventure only 30 minutes from the Sunshine Coast's most famed beaches. That means you can surf by day and appreciate the sky by night, while skipping the long commute. Taking place from 5.15pm on Friday, August 15, this strictly limited trip kicks off with a sunset and dining experience bound to get you in the mood for what comes next. Tucked into King Ludwigs, a much-loved Bavarian-style restaurant and bar in Maleny, you'll enjoy dinner and drinks while admiring the soaring Glass House Mountains in the distance. Then, once darkness has descended, you'll load onto a bus and travel a short distance to a fascinating viewing platform. Here, you'll meet a team of passionate astronomers, ready to guide you through the dazzling constellations overhead. Listen to a captivating introduction, then get behind a state-of-the-art telescope to soak up the show. Plus, hot drinks are served throughout the evening to keep your hands toasty if it gets a little chilly. Plans are well underway to establish the Sunshine Coast hinterland as a Dark Sky Reserve — a designated area with minimal light pollution. If all goes right, this 900-square-kilometre region could become Queensland's first and only the second in Australia, behind Warrumbungle National Park in New South Wales. Images: Dr Ken Wishaw.
Let’s take a moment to talk about destruction. Scales of destruction, to be precise. For earthquakes, we use the ‘Moment Magnitude Scale’, for tornados it’s the ‘Fujita Scale’ and hurricanes are classified according to ‘Saffir-Simpson’. There’s no official system for classifying destruction in movies per se (the ratings system is too broad), but if we were to put a name to it, the ‘Marvel Scale’ might be a good place to start. -A ‘5' would be the most severe: your full-blown, blown-up world situation, where entire planets are either destroyed or critically imperilled (see: Guardians of the Galaxy, Thor: The Dark World, Fantastic Four: Rise of the Silver Surfer). -A ‘4’ would cover city-wide destruction, where entire skyscrapers tumble like box office records, generally with little or no regard for their hapless occupants (see: The Avengers, The Avengers 2: Age of Ultron). -A ‘3’ is a shocking amount of destruction localised to a single area, such as a small town or neighbourhood, otherwise known as ‘a standard fight’ in just about every Marvel movie (see: Thor, Captain America: The Winter Soldier, Iron Man 2, X-Men Origins: Wolverine and anything with a Hulk). -A ‘2’ would cover destruction on the human scale, where countless pawns (ideally ‘baddies’, then soldiers/cops and, when permissible, innocent bystanders) are mowed down by alien weapons, unwieldly superpowers or falling debris (see: Blade: Trinity, X-Men: The Last Stand). What, then, is a ‘1’? The answer is Ant-Man, where the violence is kept to such a minimum that the most meaningful casualty is an actual ant. An ant named ‘Antony’. What we get instead is a family-friendly Marvel movie where humour and dialogue offer a refreshing respite from all the usual, unimaginable carnage. Marvel actually frames Ant-Man as a heist movie, and that’s a good way to look at it. When an unscrupulous scientist (played by House of Cards’ Corey Stoll) perfects the science of atomic manipulation – allowing humans to be shrunk to the size of an ant whilst capable of enormous feats of strength – his former mentor and the original inventor of the technology (Michael Douglas) recruits a cat burglar named Scott Lang (Paul Rudd) to steal the prototype military suit and destroy all related records, believing it to be a threat to global security. Lang is given his own special suit, one that allows him to shrink back and forth as he pleases, then trained both in martial arts and the ability to communicate with insects. Think 'Honey I Shrunk The Doctor Dolittle', combined with a little Matrix and a lot of Oceans 11. The implications of a ‘Marvel-1’ movie cut both ways. The downside is that the stakes feel significantly lower, with ‘end of the world’ being replaced by ‘might get caught’ as the biggest threat for most of the film. Generally, though, it’s all upside, with the smaller-scale storyline (and unavoidably concomitant puns) allowing for a funnier and more intimate superhero tale. The size-related jokes are predictably frequent, but thankfully also creative enough to surprise, and apportioned evenly to allow for more general comedy as well. As the title character Rudd is perfectly cast, allowing his boy-next-door charm to deliver Tony Stark level wise-cracks without the ego or arrogance to sour them. It’s the Peter Parker model, where self-deprecation reigns supreme and heroism is steeped in humility. Coupled with the comedic offerings of his ex-con buddies (led by a scene-stealing Michael Peña), and bouncing off the dry wit of his instructor/love interest Hope (Evangeline Lilly), Rudd simultaneously leads Ant-Man as confidently as any of his comic book compadres whilst downplaying it to a point that almost parodies the Marvel world in which it exists. Funny, charming and very family friendly, Ant-Man is unquestionably light fare, but also a solid debut for what will almost certainly develop into a meatier and more assured trilogy.
It mightn't be the season for trimming trees, singing carols and exchanging gifts just yet, but it is the season to pretend. And New Farm Cinemas has an event that's tailor-made for getting jolly in July — even if you usually avoid or ignore mid-year Christmas shenanigans. At 7pm on Friday, July 27, the venue is giving seasonal classic Love Actually a whirl. That means there'll be plenty of jovial tales of romance starring seemingly every actor who was famous in Britain in 2003. Colin Firth broods, Hugh Grant dances, Alan Rickman charms and Liam Neeson shows his softer side. Keira Knightley is wooed and Emma Thompson proves a calm force to be reckoned with. To accompany the session, the cinema is also serving up some very fitting refreshments. There'll be apple pie, which'll keep your stomach warm, plus mulled wine, which will warm your insides thoroughly. Given the movie will warm your heart — because if you're going along, you're definitely already a fan — prepare to feel mighty toasty as you revisit Richard Curtis' rom-com classic.
Earlier this week, we were pretty floored by the sci-fi-turned-reality that is the underwater home. Now, the latest in architecture is once again daring us to new extremes — this time in the form of the jaw-dropping Cliff House. Conjured up by Melbourne company Modscape, the five-storey dwelling clings to your regular cliff face, affording dramatic ocean views, avoiding neighbours and enabling coastal development without the dreaded high-rise skyline. It's also the most terrifying holiday home we've ever seen. We're not sure who has the cojones to live here, as this is next level extreme real estate — for example, is that last storey a pool or a ocean-accessing hole? Overall, according to the Modscape site, the design is "inspired by the way barnacles cling to the hull of a ship... visualised as a natural extension of the cliff face rather than an addition to the landscape, creating an absolute connection with the ocean." The Cliff House came about as a response to an increasing number of requests from clients wanting to inhabit Australia's more treacherous coastal sections. Obviously, the big question — how does the house not plunge perilously into the ocean? Modscape's modular design and prefabrication technologies are crucial to the concept. Several modules are stacked on top of one another and kept in place with engineered steel pins. You enter the house through a top floor carport, where you meet an elevator that descends to each of the five floors. As far as interior design goes, the mock-up emphasises minimalism, allowing for total appreciation of the location. At this stage, the Cliff House is still in concept phase, but the company is confident that given the right cliff face, it'll be totally doable — if you're game. Via Inhabitat.
Andrew McConnell and Jo McGann's culinary empire is settling into Brisbane. When July kicks off, the acclaimed duo will start the second half of 2024 by opening the first of two new venues that'll call the Sunshine State capital home. At Bar Miette, patrons are in for a casual European-style haunt that's a terrace cafe and a wine bar all in one — and a one-stop shop for breakfast, lunch, cocktails, dinner and everything in-between. This is the year that Supernormal will cease being a one-city restaurant, with the famed Melbourne eatery making the leap to Brisbane; however, Bar Miette is launching first on Monday, July 1. Supernormal's Queensland expansion has been in the works since 2022, while its new sibling was initially announced back in May. They're both nestling into 443 Queen Street in the River City CBD, perched between the Queen Street Mall and Howard Smith Wharves. Anyone who has visited Supernormal's OG site down south knows what's in store there — with the Brisbane outpost also plating up contemporary Australian dishes that also take inspiration from McConnell's time in both Hong Kong and Shanghai — but Bar Miette is a new commodity. "It's a place for people to use as they wish and as the occasion dictates — for coffee and breakfast, lunch (early or late), snacks and dinner, a cocktail or a glass of wine — from its elevated vantage point overlooking the Maiwar (Brisbane) river and Story Bridge," explains McConnell. Letting customers enter via the riverside boardwalk as well as Queen Street, the location itself is a drawcard, hence the hospitality figure making the most of it by opening not one but two venues. As McConnell mentioned, folks stopping by can enjoy views of the Brisbane River and the Story Bridge, with Bar Miette taking them in from street level, above Supernormal. Vince Alafaci and Caroline Choker of Sydney's ACME are on design duties for both spots, but are giving them each their own look and feel. For Bar Miette, that means skewing "classically European", McConnell advises. That said, the 86-seater — 16 at the curved bar, then 70 on the terrace — is also nodding to its place in Brisbane, gleaning inspiration from the city's Kangaroo Point and Howard Smith Wharves cliffs, and also the river. "Earthy tones complement the lush garden surrounding Bar Miette with the piazza style terrace leading the eye to the dynamic flow of the Brisbane River and the Story Bridge," explains Alafaci. On the menu seven days a week, from a range of dishes designed to hero local produce, are breakfast options such as tahini and cinnamon toasted granola, house-made spelt crumpets, croque monsieurs, a crispy bacon bap with gentleman's relish, and house-cured and -smoked trout to start off the morning. To wash all of the above down with, you'll be sipping coffees, teas, tisanes, juices and sodas. Come lunch and dinner, whipped cod roe, anchovy gildas, raw Hervey Bay scallops, oysters and three types of caviar might tempt your tastebuds. Or, dig into the marinated octopus with potato and aioli, wagyu bresaola, duck liver parfait, mortadella stack on a milk bun, charcuterie selection and crab mayonnaise on toast. And for dessert, chocolate cannoli, créme caramel, affogatos and the cake of the day sit alongside four cheeses. If it's a cocktail that you're after, they join the lineup from 10am, starting with a bloody mary and milano fizz. The full range includes a signature martini, margarita frappé and tropical old fashioned among the highlights, as well as a number of aperitif picks, non-boozy concoctions, and five pages of wines from around Europe and Australia. When Supernormal Brisbane will launch hasn't yet been revealed, other than mid-2024, but soon enough Brisbanites will have two McConnell venues to hit up. Find Bar Miette at 443 Queen Street, Brisbane from Monday, July 1, 2024 — open from 7am–10pm Monday–Friday and 8am–10pm Saturday–Sunday. For more information, head to the bar's website. Images: Josh Robenstone.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. FIRESTARTER Would the latest big-screen adaptation of Stephen King's Firestarter have been better or worse if it had included The Prodigy's hit of the same name, aka the most obvious needle-drop that could've been chosen? Although we'll never know, it's hard to imagine a film with less personality than this page-to-screen remake. Using the 1996 dance-floor filler would've been a choice and a vibe — and a cliched one, whether gleefully or lazily — but it might've been preferable to the dull ashes of by-the-numbers genre filmmaking that's hit screens instead. Zac Efron looking so bored that blood drips from his eyes, dressing up King's 1980 story as a superhero tale (because of course) and having its pyrokinetic protagonist say "liar liar, pants on fire" when she's torching someone aren't a recipe for igniting movie magic, or for even occasionally just lighting a spark. That said, the best thing about Firestarter circa 2022 is actually its 'Firestarter'-free score, and with good reason. It hails from legendary original Halloween director John Carpenter, plus his son Cody Carpenter and regular collaborators Daniel A Davies (all fresh from 2018's Halloween and its follow-up Halloween Kills). It's a savvy touch not merely for the kind of atmospheric, eerie, mood-defining electro-synth sounds that only the elder Carpenter can deliver, but because he was originally slated to direct the first version of Firestarter in 1984, only to be ditched because The Thing — now a stone-cold sci-fi/horror classic — didn't do well enough at the box office. While both features could've desperately used Carpenter behind the lens, at least the initial flick didn't feel like all it was burning was the audience's time and patience. Then, now and in King's book, Firestarter follows the McGee family, whose lives would blaze brighter if they didn't have abilities most folks don't. After volunteering for a clinical trial in college, Andy (Efron, Gold) and his wife Vicky (Sydney Lemmon, Fear the Walking Dead) have telepathic and telekinetic powers; being experimented on with mind-altering chemical compounds will do that. And, from birth, their now 11-year-old daughter Charlie (Ryan Kiera Armstrong, It: Chapter Two) has been able to start fires with her mind. How director Keith Thomas (The Vigil) establishes this backstory says more than it should about the movie, how blandly it turns out and what it might've been with more flair. A flashback to Charlie getting fiery as a baby is laughable, and kindles exactly zero thrills, scares or unease. But, flickering over the opening credits as old video footage, Andy and Vicky's time as test subjects ripples with tension and creepiness — that's swiftly extinguished and never felt again. Unsurprisingly, the McGees have spent years attempting to blend in, hiding their powers and fleeing the shady government department, The Shop, that's responsible for their situation — and now sports a keen interest in using Charlie as a weapon. Alas, as the girl grows, holding her abilities back is becoming harder. Andy and Vicky argue about what's better: training her to suppress the flames or teaching her how to harness them. Then she literally explodes at school, The Shop head honcho Captain Hollister (Gloria Reuben, City on a Hill) puts bounty hunter John Rainbird (Michael Greyeyes, Rutherford Falls) on their trail and the heat is on. (No, that track from Beverly Hills Cop, which reached cinemas the same year that the OG Firestarter did, doesn't feature here either.) Read our full review. OPERATION MINCEMEAT A twisty tale of high-stakes British espionage — one that spans secret identities, torrid affairs, country-hopping missions and a world-in-peril situation, too — Operation Mincemeat desperately wants its audience to know about its 007 ties. When it introduces a man by the name of Ian Fleming (Johnny Flynn, The Dig), it lets the moment linger. It drops more than a few mentions of his fondness for writing about spy intrigue as well. And, when he refers to his boss Admiral John Godfrey (Jason Isaacs, Streamline) as M, the film even has him explain why. Fleming is also the movie's narrator, literally spinning a cloak-and-dagger story from the get-go. Plus, seeing him tapping away at a typewriter is a common image. Every single touch forms part of the feature's warm, well-meaning nod to the Bond, James Bond author's early years; however, it's also a tad distracting and unnecessary. Fleming is immersed in the IRL covert mission that Operation Mincemeat explores, and removing him would've been inaccurate, but the details themselves are fascinating enough without getting viewers thinking about tuxedos and shaken-not-stirred martinis. Operation Mincemeat is a war film, set in the darkening days of 1943. It's also just as much a heist film. Whether you've only ever seen one Ocean's flick, have memorised every single word of Reservoir Dogs, or loved Baby Driver or Widows in recent years, if you've seen one caper movie you know the setup: gather a gang together, work out the nitty gritty of a bold but tricky plan, endeavour to put the scheme into action, then weather whatever comes (be it success, failure or a bit of both). Adapting Ben Macintyre's book, which also spawned a 2010 documentary, screenwriter Michelle Ashford (Masters of Sex) is well aware of this formula. With director John Madden (Miss Sloane) behind the lens, Operation Mincemeat doesn't shy away from all of the heist basics for a second. But as with all the gratuitous Bond nods, a cracking real-life tale remains a cracking real-life tale — the kind that no one, not even Fleming, could convincingly make up. The titular gambit came about as much of the Allies' efforts in World War II did: as an effort to do whatever was needed to defeat Hitler. Britain needed to make its way into occupied Europe, but everyone involved knew it — including the Germans — ensuring that any standard move would've been oh-so-easy for the Nazis to predict. Enter the operation that might've been codenamed 'Trojan Horse', except that that label would've been much too obvious. The plan: getting documents about the Allies' purported and wholly fictional scheme to invade Greece to their enemies, misdirecting them, so that the invasion of Sicily could proceed with little resistance. The crucial detail: drifting those papers into Spain, where they could be reasonably expected to end up in German hands, by placing them with a corpse dressed up to look like a British military officer. Making that ruse stick — ensuring that the Nazis didn't smell a plant, specifically — was never going to be a straightforward move. It's one thing to nail the logistics of transporting the cadaver and its faux materials to the right place, and another completely to find a body that works, forge all the necessary documentation and build up a backstory so believable that it'd stand up to enemy scrutiny. As a result, Godfrey isn't keen on the operation, which was reportedly conjured up by Fleming, but it still gets the go-ahead anyway. Tasked with both fleshing and carrying it out are Naval Intelligence officers Ewen Montagu (Colin Firth, Supernova) and Charles Cholmondeley (Matthew Macfadyen, Succession), who amass a team of helpers including Fleming, Montagu's trusty chief secretary Hester Leggett (Penelope Wilton, Downton Abbey: A New Era), plus MI5 clerk Jean Leslie (Kelly Macdonald, Line of Duty). Read our full review. TO CHIARA Lurking behind every 18th birthday, beyond the alcohol legally drunk and nightclubs gleefully danced through, is an unspoken truth: life only gets more chaotic from here. That realisation doesn't usually spring during the celebrations, toasts and happy speeches of the big day itself — or necessarily within weeks, months or even a few years afterwards, either — however, it's inescapable nonetheless. In To Chiara, it blazes brightly for the movie's eponymous teenager (Swamy Rotolo). It shatters her sense of normality, too. But she isn't the one hitting the milestone that every adolescent yearns for. Instead, the party that helps start this Italian drama is actually for the 15-year-old's elder sister Giulia (Grecia Rotolo), with the pair's friends and relatives alike marking the occasion as countless other families have: with dinner, festivities and delighted emotions. As captured with a raw, fluid and naturalistic style like everything that both precedes it and follows, Giulia's birthday is a portrait of exuberance — until, for Chiara, it isn't. She plays up a garden-variety case of sibling rivalry, including during a performative dance contest. She revels in still being her doting dad Claudio's (Claudio Rotolo) favourite. And she thinks nothing of sneaking outside to have a smoke, only slightly worrying if her father will find out. But it's there, cigarette in hand, that Chiara watches her uncles get into a verbal scuffle outside. Then, in the aftermath, she spies her doting dad rushing off to deal with the fallout. Also, later that evening, perturbed by the feeling that something isn't quite right, it's Chiara who witnesses the family car explode outside their home, and spots Claudio fleeing under the cloak of darkness. The newest neo-realist film by Italian American writer/director Jonas Carpignano, To Chiara is also his third set in the Calabrian region, in the small coastal town of Gioia Tauro. It's the latest entry in a series that explores the area's mix of residents, segueing from refugees from North Africa in 2015's Mediterranea to the Romani community in 2017's A Ciambra, and now to the 'Ndrangheta. Call the latter the mafia, call them an organised crime syndicate, call them just part of living Southern Italy — whichever you pick, Chiara has always just considered them her loved ones without knowing it. Learning how her dad pays the bills and why he's now a fugitive, gleaning that her mother (Carmela Fumo) must be aware, trying to uncover where Giulia stands, attempting to cope with everything she thought she knew crumbling in an instant: that's what this gripping and moving film has in store for its young, headstrong, understandably destabilised protagonist from here. From the moment that Chiara begins to make her big discovery — piecing together the details stubbornly, despite being warned that her questions won't have welcome answers — it's easy to recognise why such a tale fascinates Carpignano. It's the story that sits in the shadows of other gangster flicks and shows, because so many are also about the bonds of blood; in decades gone by, it could've been Mary Corleone facing the same situation in The Godfather franchise or Meadow Soprano doing the same in The Sopranos. To Chiara also unfurls the ultimate tale of innocence lost, forever fracturing the bubble of an idyll that Chiara has spent her life inhabiting without ever realising, and causing her to now see the parent she has always adored in a completely different light. Nothing signals leaving childhood behind, no matter your age, more than having the entire foundation for your existence shift, after all. As gleams fiercely in its phenomenal lead's eyes, nothing is more devastating, either. Read our full review. THIS MUCH I KNOW TO BE TRUE How do you make a concert film when no concerts can be held to film? Australian director Andrew Dominik (Chopper, Killing Them Softly) and his now two-time subjects Nick Cave and Warren Ellis have the answer. How do you create a personal documentary that cuts to the heart of these Aussie music icons when, whether stated or implied in their vibe, both are hardly enamoured with having their lives recorded? Again, see: Dominik's new Cave and Ellis-focused This Much I Know to Be True. Performances in cavernous empty British spaces fill the movie's frames but, via stunning lighting, staging and lensing, they're as dazzling as any IRL gig. The interludes between tunes are brief, and also intimate and revealing. The result: a phenomenal doco that's a portrait of expression, a musing on an exceptional collaboration and a rumination upon existence, as well as a piece of haunting cinematic heaven whether you're an existing Cave and Ellis devotee, a newcomer or something in-between. Dominik, Cave and Ellis initially teamed up when the latter duo scored the former's The Assassination of Jesse James by the Coward Robert Ford. Later this year, when upcoming Marilyn Monroe biopic Blonde hits screens, the same arrangement will provide its soundtrack. But in the middle sits 2016 doco One More Time with Feeling and now This Much I Know to Be True, as entrancing a pair as the music documentary genre has gifted viewers. The first factual flick found Cave and Ellis recording the Nick Cave and the Bad Seeds album Skeleton Tree, as Cave also grappled with the death of one of his sons. Here, its follow-up is shaped by the first performances of Cave and Ellis' latest albums — the Bad Seeds 2019 release Ghosteen, and Cave and Ellis' 2021 record Carnage — plus the pandemic and the lingering effects of grief. Chatter precedes tunes to begin This Much I Know to Be True — talk, a revelation and a mini art exhibition, in fact. To the camera, Cave quips that he's "retrained as a ceramicist, because it's no longer viable to be a musician, a touring artist". He's joking about giving up music, of course, but serious about his foray into porcelain. Donning a white lab coat, he walks the audience through his workshop, sharing a series he's dubbed The Story of the Devil in 18 Figurines. That'd make a phenomenal title for one of his tracks, but it isn't. One piece's individual moniker, The Devil's Last Dance, also sounds like a song title. Unsurprisingly, Cave unfurls the same kinds of tales while explaining his ceramics — about a figure he's clearly long been fascinated with, and about choices, family, loss, redemption and mourning — as he always has behind the microphone. This attention-grabbing introduction serves several purposes, from pointing out the English government's patently ridiculous advice to artists during COVID-19 to setting the film's tone. There's always been a bewitching blend of the ethereal, mysterious and dark to Cave's music, and a sense of poetic preaching to his lyrics; his early musings here about the devil at various moments in his life earn the same description, and establish the movie as a type of spiritual experience. Fans of any star are guilty of seeing their hero's work in that light. It's especially true of musicians, who innately turn concert venues into altars for their disciples to worship their output. Still, when This Much I Know to Be True hones in on Cave at his piano, or behind the mic, spotlights casting him in a hypnotic glow while bathing his surroundings in blackness, that feeling couldn't be more blatant — and earned. Read our full review. FATHER STU The last time that Mark Wahlberg played a real-life boxer, The Fighter was the end result. The last time that Mel Gibson played the burger-chain owner's father, the world was forced to suffer through Daddy's Home 2. Combine this mismatched pair and you don't quite get Father Stu, the former Marky Mark's first step into faith-based films — but even watching the latter, the second instalment in his woeful comedy franchise with Will Ferrell, is preferable to this mawkish true tale. Drawn from the IRL Stuart Long's life, it's meant to be an inspirational affair, covering the familiar religious-favourite beats about sinners being redeemed, wayward souls seizing second chances and learning to accept physical suffering as a chance to get closer to the divine. First-time feature writer/director Rosalind Ross is earnest about those messages, and her film visibly looks more competent than most sermon-delivering recent cinema releases, but what preaching-to-the-choir sentiments they are. How ableist they are as well. When Wahlberg (Uncharted) first graces the screen as Long, he could've stepped in from plenty of his other movies. In his younger days, the titular future priest is a foul-mouthed amateur boxer from Montana, but he has big dreams — and when he hits Los Angeles with acting stars in his eyes, viewers can be forgiven for thinking of Boogie Nights. Porn isn't Long's calling, of course, although salacious propositions do come his way in the City of Angels, in one of the film's hardly subtle efforts to equate the secular and the sordid. It's actually lust that pushes the feature's protagonist on the path to the priesthood, however, after he spies volunteer Sunday school teacher Carmen (Teresa Ruiz, The Marksman) while he's working in a grocery store. To have a chance with her, he even gets baptised. Then, a drink-driving accident brings a vision of the Virgin Mary, sparking Long's determination to make Catholicism his calling. Next, a shock health diagnosis both tests and cements his faith. Father Stu is filled details that instantly seem too neat, contrived and poised to make the movie's point, even knowing that this is a biopic. Perhaps they wouldn't feel so calculating if Ross did more than simply connect the dots between events that push her central figure towards his spiritual awakening with big "and then this happened" energy. If exactly why the church appealed to Long so strongly was meant to be conveyed via Wahlberg's performance, that's lost in an always-superficial portrayal. The actor gained the necessary weight needed in Long's later years, and is happy to show off his brawn in his younger boxing and wannabe actor days, but that isn't the same as fleshing a character out. Here, Long is merely a symbol; Father Stu may recreate the real counterpart's experiences, but on-screen, the leap from swearing, drinking and abhorring religion, to putting on a show of devotion (and a spate of stalking) to get laid, to accepting his health woes in the name of the Lord, is quick, easy and unconvincing. Indeed, there's a big "Poochie died on the way back to his home planet" vibe to Father Stu's storytelling again and again, as the film favours the bland and broad over the detailed and textured. That includes the entire roster of performances, with Wahlberg basically typecasting himself — he's one of the movie's producers, driven by his own deep and well-publicised Catholic faith — as the wise-cracking tough-guy pugilist, thespian and holy man, and Jacki Weaver (Back to the Outback) stuck in a thankless part as Long's mother. Gibson's involvement is hardly surprising given he has The Passion of the Christ on his resume, and filmmaker Ross is his current real-life partner, but his work here is still as stereotypical as can be. That all still pales in comparison to the idea that serious health woes are "a gift from God", an atrocious notion that isn't the testament to accepting one's lot in life that Father Stu thinks it is. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on February 3, February 10, February 17 and February 24; and March 3, March 10, March 17, March 24 and March 31; April 7, April 14, April 21 and April 28; and May 5. You can also read our full reviews of a heap of recent movies, such as Belfast, Here Out West, Jackass Forever, Benedetta, Drive My Car, Death on the Nile, C'mon C'mon, Flee, Uncharted, Quo Vadis, Aida?, Cyrano, Hive, Studio 666, The Batman, Blind Ambition, Bergman Island, Wash My Soul in the River's Flow, The Souvenir: Part II, Dog, Anonymous Club, X, River, Nowhere Special, RRR, Morbius, The Duke, Sonic the Hedgehog 2, Fantastic Beasts and the Secrets of Dumbledore, Ambulance, Memoria, The Lost City, Everything Everywhere All At Once, Happening, The Good Boss, The Unbearable Weight of Massive Talent, The Northman, Ithaka, After Yang, Downton Abbey: A New Era, Wheel of Fortune and Fantasy, Petite Maman, The Drover's Wife The Legend of Molly Johnson and Doctor Strange in the Multiverse of Madness.
Back in 2019, the Great Barrier Reef gained a new addition, as well as a new way to enjoy its natural underwater delights. Long before Avatar: The Way of Water and The Little Mermaid were plunging viewers into the deep from the comfort of their cinema seats, the Museum of Underwater Art turned sculptures beneath the ocean's surface into a spectacular reason to go for a dip. It's the southern hemisphere's first attraction of its type, in fact, and it added more artworks in 2020. Since then, divers and snorkellers have been able to enjoy two installations. The first, Ocean Siren, is located 30 metres offshore from The Strand jetty at Townsville and actually towers above the water; however, it interacts with live water temperature data from the Davies Reef weather station, then changes colour in response to variations as they happen. Coral Greenhouse, the second, definitely lurks below the sea. Sitting 18 metres below the waterline on the John Brewer Reef off Townsville, it measures 12 metres in height, weighs around 58 tonnes, and is made out of stainless steel, neutral marine grade cement and zinc anodes. And, yes it does indeed look like a greenhouse. As filled with more than 20 sculptures, it's an underwater building. Now, the Museum of Underwater Art boasts a just-opened third attraction: snorkel trail Ocean Sentinels. Also located on the John Brewer Reef, it features eight sculptures by Jason deCaires Taylor, all modelled after leading marine scientists and conservationists — and mainly Australians, too. Made from high-grade, low-carbon and earth-friendly concrete, then reinforced with marine stainless steel, each piece measures 2.2 metres in height and weighs anywhere from 0.94–2.8 tonnes. Ocean Sentinels was installed in May 2023, and sits adjacent to Coral Greenhouse, making hitting the water to look at art a two-for-one experience. Because they need to be fixed to the seabed, they've been placed on barren stretches of sand. If you're keen to take a look, tourism operators will start taking travellers for a viewing from this month. "These eight pieces will be the third installation in a series of ocean-based artworks installed throughout the Townsville region. All eight models are renowned for their expertise in the field of marine science and marine conservation and their hybrid forms make reference to their contribution to their specific field of study," explains deCaires Taylor. One of the artist's muses: Dr Katharina Fabricius, a coral ecologist, who describes the Museum of Underwater Art "a living piece of art that communicates to the people how important research is, how important coral reefs are, and how all these aspects — art, science, humanity — can come together to protect the reef." Find the Museum of Underwater Art, including Ocean Sentinels, off the shore of Townsville, Queensland. For more information and to book a tour, visit the museum's website. Images: Jason deCaires Taylor.
Back in 2001, when now-The 40 -Year-Old Virgin, Superbad, 50/50, Pam & Tommy, The Fabelmans and The Studio star Seth Rogen earned a role in Undeclared, his second TV series, Nicholas Stoller (You're Cordially Invited) was one of the show's writers. With the college-set sitcom's creator Judd Apatow (The Bubble) — who Rogen had first worked with on Freaks and Geeks — the pair co-penned an episode together. On-screen, Carla Gallo (Mayans MC) was also among the core cast members. Rogen, Stoller, Gallo: in their professional relationship, this trio was just getting started. In 2010, when Stoller helmed Get Him to the Greek, his second feature, then-Two Hands, The Goddess of 1967, Troy, Marie Antoinette, 28 Weeks Later and Sunshine talent Rose Byrne (Physical) was one of his leads. Gallo also popped up, as she did in the filmmaker's debut Forgetting Sarah Marshall. Jump to 2014 and Bad Neighbours — or simply Neighbours in the US, but renamed Down Under for obvious soap opera clash-avoidance reasons — saw Byrne, Rogen, Stoller and Gallo all join forces. Again, the quartet's collaboration was just beginning. Bad Neighbours and its sequel Bad Neighbours 2 enlisted Byrne and Rogen to play a married couple with a new baby, grappling with the major change of lifestyle that comes with becoming parents while also dealing with living next door to a fraternity. What if Byrne and Rogen instead portrayed pals, not a couple — specifically, past BFFs who've drifted apart due to the complicated balance of attempting to juggle their platonic relationship with their romantic lives (aka: one didn't like the other's spouse and said so), and then reunite? Thanks to Platonic, that's when the Bad Neighbours team became focused on good friends. In a series co-created, co-written and co-directed by Stoller and Francesca Delbanco (Friends with College), Byrne plays Sylvia, a stay-at-home mother when the first season of Platonic premiered in 2023. The setup with her husband Charlie (Luke Macfarlane, Invincible): she put her law career on hold for their children, while he kept his, becoming the family breadwinner. Rogen is Will, who kicked off the show as a beer-obsessive brewpub co-owner whose life couldn't be more different from his old friend from college's suburban existence. The two haven't kept in touch since she was honest about her thoughts on his wife, however — but that changes when Sylvia hears about Will's divorce, reaches out and reignites their chaotic dynamic. When you're making a comedy about messy friendships, including with Gallo as Sylvia's pal Katie, does it help to be making it with friends? "Definitely," Rogen tells Concrete Playground. "I think in this case it did, yeah. For sure," adds Byrne. "I think when you're doing something like this — kind of outwardly comedic, and you're being expected to take swings and try things — the better you know the people, the more comfort there is with all that. And the easier that is to put yourself out there and try ridiculous things," pipes back in Rogen. "I agree. And Nick Stoller and Seth have known each other since Seth was 18, so that's such a wildly long friendship," continues Byrne. "A very long time, yeah," Rogen adds again. "And Nick gave me my first comedic role in Get Him to the Greek. So that, to me, is a very seminal moment for my career. I feel very sentimental about that at this point. So it's nice to reunite," Byrne reflects. "And this show is so fun. It's a really fun job that we have fun on — genuine fun on-set doing." Buddy-comedy gold, and also a deeply relatable and hilarious exploration of what it means to be best friends as life tears you in an array of directions and keeps throwing crisis after crisis your respective ways — personal, professional, family, romantic, the works — was the end result in Platonic's first season. The show's second run begins with almost an inverse of where its predecessor commenced, and proves both funny and thoughtful once more. Will is about to get married, and seems to mostly have it all together in love and at work. Meanwhile, Sylvia hasn't had the success that she was hoping for with her events company, and is also in a rut with Charlie. As it follows where these new starting points take its key duo, Platonic again digs into the complexity, codependence and sometimes-toxicity of Sylvia and Will's relationship, exploring their similarities and differences, and examining what it means to have a fulfilling and supportive friendship — and one that comes with so much history. The series' second season continues another of the show's pivotal elements, too: pondering the fact that no matter if you're married with kids or thinking about it, or where you are in your work realm, no one ever really feels grown up — or, at least, how you think being an adult and in your 40s will feel when you're younger. Among other topics, we also chatted to Byrne and Rogen about that crucial theme, unpacking the impact that a friendship like Sylvia and Will's has on the romances in their lives, Rogen's fondness for examining friendship on-screen and Byrne's physical-comedy prowess. On Stepping Back Into Sylvia and Will's Shoes for a Second Season Rose: "I'm just always nervous. You're just hoping it's going to be funny again." Seth: "Yeah." Rose: "'Is this going to work?'. That feeling of butterflies doesn't necessarily go away. It's just like 'okay, this was good. We got something good last time' — but the stakes are almost higher when you go back again, because 'okay, how do you make it better?'. But I feel it's actually stronger this season. I think they wrote even more to our strengths. And TV takes a minute to settle in — it takes a minute season by season to really enrich the characters. So I was still definitely nervous starting." Seth: "For sure, definitely." On Whether There's Something That Appeals to Rogen About Digging Into Friendships On-Screen Across His Career, Including in The Studio This Year Seth: "I guess so. I think it's people. It's something I just really relate to. I think part of it is probably that my creative partner is my friend. And so I think a lot of our creative output comes through this lens of friendship, and of collaboration and of attempts to communicate things with other people. It's just very relatable. And people, as much as it speaks to my personal life, it seems to speak to other people's lives as well. And I think conflict with your friends is something that I've also found to be very interesting and entertaining subject matter, and trying to reconcile a working relationship with a personal relationship, and things like that. They're just things that are big things in my actual life, so that's always what I'm trying to put into my work. And it's also a bigger source of conflict. I've been in a very happy marriage for like 20 years, or we've been together for like 20 years. And there's not a ton of conflict or comedy that comes from that. Much more comedy comes from the things my stupid friends do — and so we write more about that." On the Importance of Platonic Also Being a Show About the Fact That No One Ever Truly Feels Grown Up, Even When They're Entering Their 40s Rose: "I like that. I enjoyed the fact that they're in their 40s, they're at very different stages of their life — Sylvia's in the trenches with little kids, raising her family, and Will is still trying to capture the heydays of being in his 20s and 30s. So it felt ripe for comedy in that way — getting older, how do you navigate that and how do you have friendships when you're raising a family? It's really hard. How do you figure that out? And again, to Seth's point, I could really relate to that as a mum, as a working mum, and all that sort of stuff." On What's Interesting About Unpacking How Friendships Can Impact Relationships Seth: "To me, what's interesting is, when you're friends with people, is the constant conundrum of 'how involved do you get in their romantic relationships?' and 'how honest do you be about your feelings about their partners and their relationships with their partners?'. And I think that's what the show really gets into. And what I really relate to when I watch it is 'if your friend is in a relationship with someone you don't think they're right for, do you say something? Do you not say something? Do you let it go? If your friend's partner seems to be going through something, do you say something? Do you not say something?'. And to me, it's more of like there's no right or wrong answer that's across the board. I think it's very specific to different situations. But it's a really interesting thing for the show to explore, because it's something that I see a lot of in my real life." On Byrne's Knack for Physical Comedy — and What Excites Her About Getting to Give Those Talents a Workout Rose: "I feel so spoiled. I love it. And Nick and Francesca write me these crazy sequences. I always get nervous. They're often with Seth and I'm falling all over him and being crazy, and in somewhere weird — where were we? Some convenience store last season. Some of my favourite performances have great comedic, physical setpieces. So it's always a big swing, and you don't know if it's going to work, but they're so fun to try to do." On Whether Platonic Is Filling a Comedy Gap on the Small Screen That's Been Missing From the Big Screen in Recent Years Seth: "Maybe. It's a little light on concept for a movie, perhaps. It could maybe use a bit more plot if it was going to be a movie. But I think tonally it captures what our movies capture. But I think what's interesting is, especially when they pitched the idea to me in the first place, that's what was exciting about it — that it was sort of capturing this energy of these R-rated comedies that we made, but more tailored to a television sensibility. Which I think means it is more of a long game — it's more of a marathon and not a sprint, which I think allows the plotlines to be a little more grounded and relatable in a lot of ways. And you're not looking for a hook where it's like 'you've got 24 hours to get a guy to a theatre' or 'you're trying to buy beer for the party that night'." Rose: "Yes, yes." Seth: "It allows them to be a little bit more slice of life, which I think is cool, but it also has the tone of these big raucous comedies we used to make." On What Gets Byrne and Rogen Excited About a New Role and a New Project at This Stage in Their Careers Rose: "I'm the fan. I love seeing stuff and meeting people — and meeting directors and writers. I still don't take for granted working in this industry." Seth: "Yeah." Rose: "I mean, Seth made a whole show about it." Seth: "Yes." Rose: "It's real. I feel like if that feeling goes away, then I should go away. For me, it's still such a thrill to work. Obviously having a family changes things, and you have to prioritise and all those sorts of stuff, but every working parent has to do that. But I still feel like I'm still the fan — when I meet people and I still get starstruck and I still want to work with people, and all those sorts of things. So for me, it's still really a thrill to be doing it." Seth: "Yeah, me too. Exactly." Platonic streams via Apple TV+, with season two premiering on Wednesday, August 6, 2025. Read our review of season one.
UPDATE, April 21, 2023: Elvis is available to stream via Netflix, Binge, Google Play, YouTube Movies, iTunes and Prime Video. Making a biopic about the king of rock 'n' roll, trust Baz Luhrmann to take his subject's words to heart: a little less conversation, a little more action. The Australian filmmaker's Elvis, his first feature since 2013's The Great Gatsby, isn't short on chatter. It's even narrated by Tom Hanks (Finch) as Colonel Tom Parker, the carnival barker who thrust Presley to fame (and, as Luhrmann likes to say, the man who was never a Colonel, never a Tom and never a Parker). But this chronology of an icon's life is at its best when it's showing rather than telling. That's when it sparkles brighter than a rhinestone on all-white attire, and gleams with more shine than all the lights in Las Vegas. That's when Elvis is electrifying, due to its treasure trove of recreated concert scenes — where Austin Butler (Once Upon a Time in Hollywood) slides into Presley's blue suede shoes and lifetime's supply of jumpsuits like he's the man himself. Butler is that hypnotic as Presley. Elvis is his biggest role to-date after starting out on Hannah Montana, sliding through other TV shows including Sex and the City prequel The Carrie Diaries, and also featuring in Yoga Hosers and The Dead Don't Die — and he's exceptional. Thanks to his blistering on-stage performance, shaken hips and all, the movie's gig sequences feel like Elvis hasn't ever left the building. Close your eyes and you'll think you were listening to the real thing. (In some cases, you are: the film's songs span Butler's vocals, Presley's and sometimes a mix of both). And yet it's how the concert footage looks, feels, lives, breathes, and places viewers in those excited and seduced crowds that's Elvis' true gem. It's meant to make movie-goers understand what it was like to be there, and why Presley became such a sensation. Aided by dazzling cinematography, editing and just all-round visual choreography, these parts of the picture — of which there's many, understandably — leave audiences as all shook up as a 1950s teenager or 1970s Vegas visitor. Around such glorious centrepieces, Luhrmann constructs exactly the kind of Elvis extravaganza he was bound to. His film is big. It's bold. It's OTT. It's sprawling at two-and-a-half hours in length. It shimmers and swirls. It boasts flawless costume and production design by Catherine Martin, as his work does. It shows again that Luhrmann typically matches his now-instantly recognisable extroverted flair with his chosen subject (Australia aside). Balancing the writer/director's own style with the legend he's surveying can't have been easy, though, and it doesn't completely play out as slickly as Presley's greased-back pompadour. Elvis is never anything but engrossing, and it's a sight to behold. The one key element that doesn't gel as convincingly: using the scheming Parker as a narrator (unreliable, obviously) and framing device. It helps the movie unpack the smiling-but-cunning manager's outré role in Presley's life, but it's often just forceful, although so was Parker's presence in the star's career. In a script by Luhrmann, Sam Bromell (The Get Down), Craig Pearce (Strictly Ballroom, Romeo + Juliet, Moulin Rouge! and The Great Gatsby) and Jeremy Doner (TV's The Killing), the requisite details are covered. That includes the singer's birth in Tupelo, Mississippi, and extends through to his late-career Vegas residency — with plenty in the middle. His discovery by Parker, the impact upon his parents (Rake co-stars Helen Thomson and Richard Roxburgh), his relationship with Priscilla (Olivia DeJonge, The Staircase), Graceland, America's puritanical reaction to his gyrating pelvis, the issues of race baked into the response to him as an artist: they're all featured. Thematically, those last two points thrum throughout the entire movie. Elvis questions why any hint of sex was such a shock, and why it was so easy for a white man who drew his songs, style and dance moves from Black culture, via his upbringing, to be dubbed a scandal. Elvis also does what Luhrmann often does; he's never adapted a fairy tale (no, Moulin Rouge!'s green fairy doesn't count), but he adores larger-than-life stories that seem more than real. Like style, like narrative, clearly, and Presley's leap to the most famous man in the world and, sadly, to exploited, caught in a punishing trap, addicted, and then dead at just 42, has that touch to it here. Yes, that remains true even though this will always be a tragic story. That said, amid the visual flourishes that help cement the vibe — the filmmaker's usual circling images, split-screens, match cuts, frenzy of colour and visible lavishness, aided by cinematographer Mandy Walker (Mulan), plus editors Jonathan Redmond (The Great Gatsby) and Matt Villa (Peter Rabbit 2: The Runaway) — there's an earthiness to Elvis. In fact, the ability to make everything both hyperreal and natural is one of the reasons the feature's live performance scenes have such a spark. There isn't a second of Elvis that doesn't play like a Luhrmann film, of course; crucially, it's always an Elvis movie, too. There's that balance at work, even if viewers won't walk away knowing much more about the man behind the myth-sized superstardom — feeling more, however, happens fast, frenetically and often. Most choices that could've been jarring, such as the musical anachronisms, have depth to them. Luhrmann connects Presley's songs and influence with music since and now in several ways. This is a film about influences in two directions, smartly — because noting that Big Mama Thornton (first-timer Shonka Dukureh) was the first to record 'Hound Dog', that artists like BB King (Kelvin Harrison Jr, Cyrano) shaped Presley, and that his musical roots trace back to gospel churches and revival tents, needed to be inescapable in an Elvis biopic circa 2022. Also inescapable thanks to its Gold Coast shoot: spotting almost every Australian actor around Butler and Hanks, including David Wenham (The Furnace) and Kodi Smit-McPhee (The Power of the Dog) as carnival-circuit performers Hank Snow and Jimmie Rodgers Snow. Stranger Things' Dacre Montgomery plays director Steve Binder, who helmed Presley's 68 Comeback Special — the recreation of which is spellbinding. But Butler is always Elvis' force of nature. His physicality in the part, including as Presley ages, is stunning. The soulfulness baked into his portrayal is as well, and moving. That he acts circles around the prosthetics-laden Hanks, who ensures that the self-serving, one-note Parker is easily the film's villain, might sound fanciful in any other movie. But this is Elvis, and seeing Butler play Elvis is one for the money. Doing just that helped make Kurt Russell a star back in 1979, a mere two years after Presley's death, and that taking-care-of-business lightning bolt should strike again thanks to this exhilarating spectacle.
As the Macrodata Refinement division has learned over two seasons so far, alongside a few other Lumon Industries staff as well, a company that literally messes with your brain as a condition of employment is hardly a great place to work. The shady organisation at the heart of Severance sure does love throwing parties for its hired hands, though — and whether you're keen on a music dance experience, a melon bar, an egg bar social, a waffle party, a coffee cozy, pineapple bobbing, a hall of funhouse mirrors or some choreography and merriment, you'll want to celebrate the Apple TV+ hit officially being renewed for season three. The news comes fresh from Severance's second season dropping its unforgettable final episode, and after a phenomenal sophomore run for the show in general — after it returned in January 2025 almost three years after its first season debuted. So, if you watched season two wrap up and instantly wondered if there'd be more to Mark S (Adam Scott, The Monkey) and Helly R's (Britt Lower, Darkest Miriam) tale, and everyone else's, you didn't have to wait long for an answer. "Making Severance has been one of the most-creatively exciting experiences I've ever been a part of," said Ben Stiller (Nutcrackers), one of the guiding forces behind the series — directing 11 episodes across two seasons to-date, including season two finale 'Cold Harbour', and also executive producing — announcing the show's renewal. "While I have no memory of this, I'm told making season three will be equally enjoyable, though any recollection of these future events will be forever and irrevocably wiped from my memory as well." Added Scott, who not only stars but is also among Severance's executive producers: "I couldn't be more excited to get back to work with Ben, Dan, the incredible cast and crew, Apple and the whole Severance team. Oh hey also — not a huge deal — but if you see my innie, please don't mention any of this to him. Thanks." There's no word yet as to when Severance season three will arrive, after Hollywood's strikes played a part in the extended wait for season two. The show's creator, writer and executive producer Dan Erickson noted that he "can't wait to continue spreading woe, frolic, dread and malice with these truly incredible people". Locking in Severance's return comes just a week after Apple TV+ also confirmed more episodes of another of its huge successes, Ted Lasso, which will be back for its fourth season sometime in the future. In season two of Severance, a few queries earned the show's attention. The first: what happens when a group of employees attempts to raise issues about their workplace? Mark S, Helly R and their colleagues Dylan (Zach Cherry, Fallout) and Irving (John Turturro, Mr & Mrs Smith) all found out, but also started asking more questions about their existence as innies, their forced subservience not only to Lumon but to their outies, and their hopes of releasing their own dreams and desires. Both within and beyond the company's walls, Mark's outie's quest to find his wife Gemma (Dichen Lachman, Kingdom of the Planet of the Apes) also drives season two's narrative. Christopher Walken (Dune: Part Two), Patricia Arquette (High Desert), Tramell Tillman (Hunters), Jen Tullock (Perry Mason) and Michael Chernus (Carol & the End of the World) returned among the cast for season two, joined by new cast members Sarah Bock (Bruiser), Ólafur Darri Ólafsson (La Palma), Gwendoline Christie (Wednesday), Bob Balaban (Asteroid City), Merritt Wever (Memory), Alia Shawkat (The Old Man) and John Noble (Twilight of the Gods). There's obviously no trailer for season three as yet, but check out the trailer for Severance season two below: Severance streams via Apple TV+ — and we'll update you with a release date for season three when one is announced. Read our review of season one and our season-two interview with Christopher Walken.
The streaming television market is a helluva place to be in 2023. So many platforms are competing for our attention, time and money to deliver content to our eyeballs. It has its perks, though. Never before has there been so many great choices available. If the competition is too much for you, and you can't remember which service costs $14 a month and which costs $10, there is a free solution on hand. Enter SBS On Demand. The Australian channel doesn't just broadcast — it streams as well. But what you might not know about its on-demand service is that it's completely free, and comes with a perfect blend of homegrown Aussie and internationally sourced content. If the costs of streaming are getting you down, maybe it's time to trim your subscriptions and take a tour of the SBS On Demand catalogue. Let's start with drama — here are eight shows to watch. EROTIC STORIES: EIGHT STORIES OF LOVE AND INTIMACY IN MODERN AUSTRALIA Brand-new in 2023, Erotic Stories joins the ever-growing SBS On Demand catalogue as a fresh, original title. Told in an anthology form, this series shines a light on the intricacies of modern relationships: from middle-aged mates experimenting with remotely controlled sex toys to breaking a sexual drought by trying out dating apps. The series doesn't shy away from getting spicy, wondering how spicy each episode is? Read our ranking. Erotic Stories has a star-studded cast that any Australian drama fan will recognise: talents like Frances O'Connor (The End), Kate Box (Deadloch), Rärriwuy Hick (Wentworth), Zahra Newman (Thirteen Lives), Catherine McClements (The Lost Flowers of Alice Hart) and Danielle Cormack (Rake) and Alex Fitzalan (The Twelve). FARGO: THE CRIME CAPER RETURNS FOR SEASON FIVE No, this isn't the legendary 1996 film directed by the Coen brothers. If this is your first time hearing about the small-screen adaptation, you've been missing out. Since its premiere in 2014, Fargo has returned four more times with twisted tales of murder in the American midwest. In the latest instalment, an unexpected series of events lands a seemingly innocent housewife in hot water and under potentially lethal scrutiny. Fargo season five stars Juno Temple (Ted Lasso) as Dorothy 'Dot' Lyon, Jon Hamm (Good Omens) as Roy Tillman, Jennifer Jason Leigh (Hunters) as Lorraine Lyon, Joe Keery (Stranger Things) as Gator Tillman, David Rysdahl (Oppenheimer) as Wayne Lyon, Richa Moorjani (Never Have I Ever) as Minnesota deputy Indira Olmstead and Lamorne Morris (New Girl) as North Dakota trooper Witt Farr. THE DOLL FACTORY: A PERIOD DRAMA ABOUT LOVE, ARTISTRY AND OBSESSION Coming to Australia through SBS On Demand, The Doll Factory is a six-part historical thriller that adapts the bestselling novel by Elizabeth Macneal. Take a trip to London in 1850, where protagonist Iris paints dolls for a living and dreams of a career as an artist when she meets a taxidermist and a painter, who will take her down a path of dark obsession that she might not return from. The Doll Factory stars Esme Creed-Miles (Hanna) as Iris, Éanna Hardwicke (Smother) as Silas, Mirren Mack (The Witcher: Blood Origin) as Rose, George Webster (Wedding Season) as Louis and Sharlene Whyte (Sanditon) as Madame. SAFE HOME: A BOLD STORY TACKLING AUSTRALIA'S DOMESTIC VIOLENCE EPIDEMIC The gripping limited series Safe Home from SBS On Demand is only four episodes in length, but wastes no time and pulls no punches in telling a series of captivating and nerve-wracking stories centred around a family violence legal centre. Protagonist Phoebe has just moved into a new communications role at the centre after leaving a major law firm, but the situations in which she finds herself in this tense new environment are as confronting as they can be. Safe Home stars Aisha Dee (The Bold Type) as Phoebe Rook, Mabel Li (Erotic Stories) as Jenny Lee, Thomas Cocquerel (The Gilded Age) as Julian MacDonald, Antonio Prebble (Double Parked) as Grace MacDonald and Chenoa Deemal (Troppo) as Layla Morris. ROGUE HEROES: THE ORIGIN STORY OF THE INFAMOUS BRITISH SAS Based on the bestselling book by Ben Macintyre, Rogue Heroes tells a World War II tale of how three young and daring British officers created the original unit of the British SAS. The modern elite special forces team had to start somewhere, and its beginnings involved a small team of cheeky soldiers disobeying orders, parachuting behind enemy lines and quickly becoming the worst nightmare of Axis forces in 1940s North Africa. Rogue Heroes stars Connor Swindells (Sex Education) as David Stirling, Alfie Allen (Game of Thrones) as Jock Lewes, Jack O'Connell (Lady Chatterley's Lover) as Paddy Mayne, Sofia Boutella (Guillermo Del Toro's Cabinet of Curiosities) as Eve Mansour and Jacob Ifan (A Discovery of Witches) as Pat Riley. WHY WOMEN KILL: A DARK DRAMEDY OF FASHION, LEADING LADIES AND MURDER Hailing from creator Marc Cherry (Desperate Housewives), this comedic drama features two seasons that stand apart. Season one stars Lucy Liu (Shazam! Fury of the Gods) as Simone Grove, Ginnifer Goodwin (Zootopia) as Beth Ann Stanton and Kirby (Scott Pilgrim Takes Off) as Taylor Harding. The season follows three women from different decades who are connected by living in the same Californian mansion, all experiencing infidelity in their marriages and dealing with it with a touch of violence. Season two delivers a new story and cast with the same glamour, humour and even more murder. This time the focus is what it means to be beautiful, and also what it means to hide one's true face from the world — with Allison Tolman (Fargo), Lana Parrilla (Once Upon a Time), Nick Frost (The Nevers), BK Cannon (Switched at Birth), Jordane Christie (The Haunting of Hill House), Matthew Daddario (Shadowhunters) and Veronica Falcón (Queen of the South) starring. DARK WINDS: NAVAJO TRIBAL POLICE INVESTIGATE A SERIES OF STRANGE MURDERS Based on the Leaphorn and Chee novels by Tony Hillerman, Dark Winds combines elements of a psychological thriller, cultural history piece and compelling crime drama. Set in the Navajo Nation in 1971, the series follows tribal police lieutenant Joe Leaphorn and his deputy Jim Chee as they investigate a series of unusual murders that tell a much darker tale than either of them can imagine. Dark Winds stars Zahn McClarnon (Reservation Dogs) as Joe Leaphorn, Kiowa Gordon (Roswell, New Mexico) as Jim Chee, Jessica Matten (Tribal) as Bernadette Manuelito, Elva Guerra (Reservation Dogs) as Sally Growing Thunder and Noah Emmerich (Space Force) as Leland Whitover. VIGIL: A DETECTIVE WORKS A MURDER CASE ONBOARD A NUCLEAR SUBMARINE In its first season, Vigil has all the trimmings of your favourite UK police thrillers: a skilled detective, a mysterious death, and a clash between politics and justice. What makes Vigil unique? The death is onboard a nuclear submarine, and the Scottish police Detective Chief Inspector looking into the case must remain there as the vessel patrols the Atlantic while she investigates. Vigil stars Suranne Jones (Gentleman Jack) as Amy Silva, Rose Leslie (The Time Traveller's Wife) as Kirsten Longacre, Shaun Evans (Endeavour) as Glover, Paterson Joseph (Boat Story) as Newsome, Anjli Mohindra (The Lazarus Project) as Tiffany Docherty and Connor Swindells (Rogue Heroes) as Hadlow. All of these titles and more are streaming for free on SBS On Demand. To find more information or other great shows, visit the website.
On- and off-screen, Bluey is inseparable from Brisbane. For its setting, the hit animated series takes inspiration from the Queensland capital. It also hails from a studio based in the River City. The Heeler home resembles Brissie's Queenslanders. And back in 2022 when a replica of the Bluey house popped up temporarily, of course it happened in Brisbane. It makes sense, then, that you can now step inside the famous Brisbane series at the new Bluey's World experience in Brissie. Announced in 2023 and open since early November 2024, the attraction will get you walking around life-sized sets that recreate the beloved family-friendly show. Yes, the Heeler house and yard are part of the setup — for real life. Yes, you can expect to hear "wackadoo!" more than once while you're there. Movie World might've badged itself as Hollywood on the Gold Coast, but it's no longer the only big tourist hotspot giving visitors to southeast Queensland — and locals as well — a chance to explore their on-screen favourites IRL. An immersive installation sprawling across 4000 square metres, Bluey's World features the Heelers' living room, playroom, kitchen, backyard (poinciana tree included) and more. Alongside bringing the global TV sensation's sets into reality, it also boasts familiar interactive games such as Keepy Uppy and Magic Xylophone, plus other activities for both kids and adults. Maybe you'll be accompanying your own little ones, or your nieces and nephews. Perhaps you know that appreciating the adorable Aussie show about a family of blue heelers isn't just for children. Either way, this new addition to Northshore Pavilion in Northshore Brisbane is big — literally thanks to its sizeable floor plan. And yes, as seen in the series, you can arrive via CityCat. Visitors should plan to spend 70 minutes bounding through the experience — and will also find an indoor playground that nods to Bluey's Brisbane neighbourhood, plus spring rolls and pizza on offer at the cafe. There's a soundscape to match, plus a gift shop. For big Bluey birthday celebrations, the site is hosting parties as well. Bluey's World is exclusive to Brisbane, making it a tourist attraction to fans not only locally and nationally but worldwide. Unsurprisingly, that's a big part of the push from both the Queensland Government and Brisbane City Council, who are supporting the BBC Studios- and HVK Productions-produced experience. Find Bluey's World at Northshore Pavilion, 281 MacArthur Avenue, Northshore Brisbane — head to the attraction's website for more information and tickets.
A quarter-century since the world first met Monica, Ross, Rachel, Chandler, Joey and Phoebe, TV's most famous friends are never too far from anyone's thoughts. When the sitcom's catchy theme tune promised "I'll be there for you", it seems these New York pals really meant it — not just about each other, but for the legions of viewers who watched their antics between 1994–2004, then kept rewatching them afterwards. Over the years, you've probably caught reruns on television, binged your way through boxsets or let episode after episode play on Stan — but you probably haven't enjoyed a marathon of standout eps on the big screen. To celebrate the series' 25th anniversary, a heap of Brisbane cinemas are letting Friends fans do just that. There mightn't be an orange couch for you to sit on, but you'll want to gather the gang regardless. Prices and session times vary per cinema, but the lineup remains the same. On the bill are 12 of the show's classic episodes, including The One With The Black Out, The One With The Prom Video and The One Where No One's Ready — plus The One With Chandler In A Box, The One Where Everyone Finds Out and The One Where Ross Got High. Running for five hours, the screening will also feature new footage, interviews and bloopers — so you'll get an extra dose of Friends fun.
Have you ever poured frozen gin made using oyster shells into an oyster shell that's freshly empty — because you've been a-slurping — then knocked it back? It's called a shelly, and it's one way to consume Never Never Distilling Co's Oyster Shell Gin. It's also on the menu at Frog's Hollow Saloon on Wednesday, April 17, at an event that the Brisbane CBD bar is calling Foursies at Frog's, given that it kicks off at 4pm. Here's a reason to call it quits early for the day, and a way to liven up the middle of your work week. For the afternoon until 6pm, you can learn about Never Never's unique tipple from Head Distiller Tim Boast and Brand Director Sean Baxter over martinis, oysters and shellies. Entry is free, but you'll be paying for whatever you drink while enjoying full bar service — and, as the brains behind the South Australian spirits outfit will be behind the bar, chatting with them about gin production as well. If you're new to Oyster Shell Gin, Kangaroo Island oyster shells do indeed go into making it, as well as waxflower, Tasmania wakame and coastal daisy bush, plus saltbush and round mint. Oyster Shell Gin images: Meaghan Coles, Now and Then Photography.
